
IB 




Self Taught 





Madam Edith Marfe Carets 




Class 

Book.. 

Copyright N° 

COPYRIGHT DEPOSIT. 



DRESSMAKING 

SELF TAUGHT 

IN 

TWENTY COMPLETE LESSONS 




BY 
MADAM EDITH MARIE CARENS 






COPYRIGHTED AUGUST, 1911 



©CLA295500 



T^O ALL AMBITIOUS GIRLS AND WOMEN 
WITH A DESIRE TO IMPROVE THEIR 
PRESENT CONDITIONS AND MAKE THEM- 
SELVES INDEPENDENT AND SELF SUP- 
PORTING. THIS LITTLE BOOK IS DEDI- 
CATED. 

-THE AUTHOR. 



Press of 

The B. F. Wade & Sons Co., 

Toledo, Ohio. 



CONTENTS 



Lesson I. Hand Sewing. page 

Basting Stitch. Running Stitch. Back Stitch. 
Overcasting. Hemming. French Hem. Rolled 
Hem. Narrow Basted Hem. Faced Hem. Slip 
Stitch Hem. Catstitching. Feather Stitching. 
Fagot Stitching. Blanket Stitch. Hem-Stitching. 
French Seam. Fell Seam. Welt Seam. Binding 
Seams. Gathering. Cording. Ruffling. Ruching. 
Shirring. French Knots. Buttonholes, Eyelets. 
Loops. Sewing on Buttons. Covering Button 
Molds. Making Trimmings and Ornaments for 
the Finishing Touches. Advice to the Learner. 
Five Rules to Remember. Questions. ... 13 

Lesson 2. Taking Measures for a Five Gore Walk- 
ing Skirt. 

Buying and Sponging Material for the Skirt. 
Drafting of Pattern. Laying of Pattern on 
Goods. Cutting out Material. Marking Gores. 
Basting. Fitting. Pressing. Stitching. Fin- 
ishing Seams. Arranging Belt and Placket. 
Hanging of Skirt. Finishing of Bottom. Putting 
on Braid. Finishing Touches. Advice to the 
Learner. Five Rules to Remember. Questions. 20 

Lesson 3. Taking Measures and Arranging Pattern 
for Plain Shirt Waist. 

Buying and Shrinking of Material. Cutting out 
the Waist and Sleeves. Basting. Fitting. 
Stitching. Pressing. Cutting and Adjusting 
Collar. Cuffs. Plait down front of Waist. Giv- 
ing the Waist the Professional Finish. Advice 
to the Learner. Five Rules to Remember. 
Questions 29 



Dressmaking Self Taught 

Lesson 4. Taking Measures and Arranging 

Pattern for: page 

Plain Sleeve. Shirt Waist Sleeve. Shirt Sleeve. 
Plain One-Seam Dress Sleeve. Plain Two-Seam 
Dress Sleeve. Short Sleeve. Six Styles of Fancy 
Sleeves. Six Styles of Cuffs. Different kinds of 
Ornaments and Trimming for Sleeves. Advice 
to the Learner. Five Rules to Remember. 
Questions 38 

Lesson 5. 

Drafting of Two-Gore Skirt. Drafting of Three- 
Gore Skirt. Drafting of Four-Gore Skirt. 
Drafting of Nine-Gore Skirt. Drafting of Fif- 
teen-Gore Skirt. Drafting of Five-Gore Skirt. 
Drafting of Eight-Gore Skirt. Testing Measure- 
ments. Advice to the Learner. Five Rules to 
Remember. Questions 46 

Lesson 6. 

How to Make Waists with Different Size Tucks 
and Plaits, Frills, Insertions, Shaped Designs, 
Fancy Waists, Tailor and Fancy Finish. How 
to Copy Styles of Waists from Fashion Books. 
How to Design Fancy Waists from Your Own 
Ideas. How to Give the Waist the Professional 
Look. Testing Measurements in Cutting these 
Waists. To Cut Collars, Cuffs, and Jabots. 
Advice to the Learner. Five Rules to Remember. 
Questions 52 

Lesson 7. 

Drafting Plaited Skirts: Side Plaited, Plaits 
Turned Toward the Front, Plaits Turned Toward 
the Back. Tucks or Plaits to Knee Depth. 
Tucks or Plaits between Gores. Laying Gores 
on Material. Skirt Yokes. Skirt Flounces. 
Flounces Shirred, Accordion Plaited, Box 
Plaited, Side Plaited and Tucked. Advice to 
the Learner. Five Rules to Remember. Ques- 
tions 57 

6 



Madam Edith Marie Carens 

Lesson 8. Tight Fitted Linings for Waists. page 

Arranging Patterns for Same. Boning of Lining. 
Draping of Fancy Waist on Fitted Lining. 
Basting Lining to Waist. Fitting. Sewing on 
Hooks. Finishing of Seams. Finishing of Bot- 
tom of Waists. Arranging Trimming. How to 
Get a Professional Look. Advice to the Learner. 
Five Rules to Remember. Questions. . . 61 

Lesson 9. The One-Piece Frock. 

How to Join Waist to Skirt with a Girdle. Gir- 
dles and Belts, both Plain and Fancy. Sashes. 
To Join Waists to Skirts with or without Belts. 
The Two-Piece Dress. The Separate Skirt. 
The Separate Waist. The Evening Waist — 
How to Make, Drape and Trim. Advice to 
the Learner. Five Rules to Remember. Ques- 
tions 67 

Lesson 10. The Princess Dress, Plain and Fancy, 

Tight Fitting and Semi-Fitting. Boning. Panel 
Front and Back. Plaited Skirt Portion. Braid- 
ing. Finishing Seams. Lining. Who Should 
Wear the Princess? Advice to the Learner. 
Five Rules to Remember. Questions. ... 73 

Lesson 1 1 . The Airy Summer Frocks. 

The Linen Dress. The Gingham Dress. The 
Lingerie Frock. The Silk Afternoon Dress. 
The Evening Gown. Advice to the Learner. 
Five Rules to Remember. Questions, . x . . 76 

Lesson 12. The Making of Muslin Underwear. 

Tucking. Finishing Seams. Trimming. Fit- 
ting. Finishing Touches. Making Wrappers. 
Dressing Sacks. Kimonos. Children's Clothes. 
Aprons. Infant's Outfit. Fancy Neckwear. 
Advice to the Learner. Five Rules to Re- 
member. Questions 82 



Dressmaking Self Taught 



Lesson 13. The Tailor Made Suit. page 

The Buying of the Material and Sponging of 
Same. Arranging Pattern on Material. Single 
and Double Breasted Coat. Preparing of Can- 
vas. Tailor Collar. Shawl Collar. Sailor 
Collar. Cuffs. Pockets. Lapels. Padding. 
Fitting. Pressing. Advice to the Learner. 
Five Rules to Remember. Questions. ... 89 



Lesson 14. The Unlined, Semi-Fitting Long Coat. 

The Buying of the Material. The Finishing of 
the Seams. The Pressing. Buttons. Button 
Holes. The Collar. Cuffs. Sleeves. The 
Lined Semi-Fitting Coat. The Lined Tight Fit- 
ting Coat. Advice to the Learner. Five Rules 
to Remember. Questions. ... ... 94 



Lesson 15. Advanced Coat Lessons. 

Finishing Seams. Stitching on One Side. Welt 
Seam. Double Stitched Seam. Slot Seam. 
Lap Seam. Strap Seam. Piped Seam. Fancy 
Collars. How to Finish Linings. How to Make 
and Trim Evening Coats. Advice to the Learner. 
Five Rules to Remember. Questions. ... 97 



Lesson 16. Buying Materials. 

Designing. Quality and Quantity. Blending 
Shades and Colors. Shades best adapted to 
Different Types. Style of Garment Best Suited 
to Different Forms. Why Should Women Wish 
to Dress Well? What Designs Best Suit Your 
Customers? How to Study Your Customers. 
How to Copy Any and Every Kind of Design. 
What Blondes Should Wear. What Brunettes 
Should Wear. Advice to the Learner. Five 
Rules to Remember. Questions 101 



Madam Edith Marie Carens 

Lesson 1 7. page 

To Cut Bias Bands and Folds. Straps. Ties. 
All Kinds of Yokes for Waists and Skirts. Mak- 
ing of Fancy Trimmings for Gowns. Knots. 
Herringbone Work. Pipings. The Finishing 
Touch for Any Garment. Review Work on 
All Fancy Stitches. Trimmings, etc 1 06 

Lesson 1 8. 

General Review of the Foregoing Lessons. 
Advice to the Learner. Questions Ill 

Lesson 19. 

How to Design, Make and Trim Two Different 
Styles of Waists, Two Different Styles of Skirts, 
Two Different Styles of Dresses, Two Different 
Styles of Coats, Two Different Styles of Tailored 
Suits. Advice to the Learner. Five Rules to 
Remember. Questions 114 

Lesson 20. 

How to Make Money by Sewing. How to Fit Up 
a Dressmaking Establishment. How to Conduct 
a Shop. Location. Space. Sewing Room. 
Fitting Room. Reception Room. How to 
Obtain and Hold Customers. Prices to Charge. 
How to Organize and Conduct a Dressmaking 
School. Big Money Made in Teaching Others 
How to Sew. The Keeping of Supplies. How 
to Make Money by Keeping a Number of Girls 
employed. More Money Made in Sewing than 
Other Professions for Women. Madam Carens* 
Experience with the Dressmaking World. Ad- 
vice to the Learner. Five Rules to Remember. 
Questions 120 



Dressmaking Self Taught 



METHOD OF STUDY. 



The necessity of thoroughly familiarizing the first 
lesson in this Course cannot be impressed too strongly 
upon the student's mind, as it is practically the alphabet 
to Dressmaking. This may be overlooked in a desire to 
''get on;" but it is a great mistake for a learner to permit 
herself to leave this ' 'alphabet* ' until she thoroughly 
understands every principle involved therein. 

A knowledge of the principles of each lesson should 
be tested by the questions found at the close. When 
the questions can be answered satisfactorily, practice your 
work again and again until you understand the lesson 
thoroughly. Then after your lesson has been corrected 
look over your paper carefully and take note of your 
errors. 

The principles of each and every lesson must be 
understood bef©re satisfactory progress in their appli- 
cation can be made. Learn the principles thoroughly; 
let them become a part of your very self. How soon 
you will be able to make practical use of Dressmaking 
will depend upon your familiarity with the little details 
and of the time devoted each day to the actual application 
of yourself to the work. 






10 



Madam Edith Marie Carens 



GENERAL DIRECTIONS TO THE LEARNER. 



Any young girl or any woman who possesses patience, 
perseverance, a desire to learn and a determination to 
succeed can master Dressmaking. There is nothing of 
mystery about the art. 

The first lesson must be thoroughly learned before 
the second is taken up; the second before the third and 
so on to the end of the course. 

In studying this work learn to be accurate. This is 
the main thing. Learn to take measures properly. When 
you can do that and apply your principles to the cutting 
of your garments a good fit is assured. We want you 
to be a good Dressmaker and we can turn you out as 
such if you will give a little really painstaking effort to 
the study of this course. 

Never sit in a stooped or cramped position while 
sewing. Have your chair drawn up to the table and sit 
well back in it. Hold your work so that you will hardly 
have to stoop. 

Always buy good needles. Use fine needles, as small 
stitches cannot be made with coarse needles. For or- 
dinary sewing use No. 7 and for basting No. 6. 

Do not use too coarse thread. Always thread your 
needle with the end that is broken off the spool. This 
keeps your thread from knotting. Always cut your 
threads in sewing; never bite them. Do not use too 
long thread. 

In making knots, make them small for sewing pur- 
poses, but for basting make them large so they will not 
rip out in handling the work. If the knots cannot be 
hidden then fasten your thread by taking two small 
stitches, one on the top of the other. 

Use sharp, heavy scissors for cutting, but for general 
use, use smaller ones. 

Hold your work while sewing, straight and tight be- 
tween the two hands and make the stitches with the 
right hand. 

11 



Dressmaking Self Taught 

When you commence the study of Dressmaking, 
you should not let a day pass without giving to it some 
portion of your time, even though it is but a few minutes; 
you will accomplish more in this way than by irregular 
practice. 

Remember that you and not your teacher must do 
the studying. 

Master the lesson in hand; the following ones will 
take care of themselves. 

Learn to be independent. Work out the puzzling 
things if possible. 

Be studious, be punctual and methodical. Every 
principle in the course requires your careful attention. 
Do not slight one of them. 



12 



Madam Edith Marie Carens 



LESSON I. 



HAND SEWING. 
See Figures I to 40. 

Running Stitch. The running stitch is very simple 
and is used to join material where there is little strain 
on the goods. It is used on light material, tucks, plaits 
cording, running on trimmings, shirring or any ordinary 
sewing. 

The Back Stitch. It is used to take the place of 
machine stitching. Sometimes the work is too clumsy 
to stitch on the machine or if it is inconvenient to use a 
machine, then use the Back Stitch, which is made by taking 
a stitch backward on the upper side and twice as long on 
the under. The Half Back Stitch is made by taking the 
stitch only one half back. 

Basting is used to prepare cloth for sewing. On silk 
and velvet use silk thread, as cotton thread will leave a 
mark. Always clip threads every few stitches when 
pulling out basting after sewing, as you are apt to mar 
the cloth. Never stitch into line of basting or over knots. 
There are three kinds of basting, Regular, Irregular and 
Crosswise. The Regular consists of stitches all of even 
length in a direct line. Irregular consists of one longer 
stitch and usually two or three shorter ones. Crosswise 
consists of even stitches in a diagonal manner. Use the 
Irregular for long seams where little firmness is required, 
and for hems; and the Crosswise for basting canvas. Use 
the Regular basting on all goods that want to be held 
firmly. Practice these different kinds of bastings until 
you can do them quickly and evenly. 

Hems. A Hem is used to finish a piece of cloth by 
turning the material down twice, the first turn to be as 
narrow as possible and the second to be any desired width 
according to the style of your work. There are four 
kinds of hems: Rolled, Narrow Basted Hems, Faced 
Hems, and Slip Stitch Hems. The Rolled Hem need not 
be basted, it is so narrow; use slanting stitches and 

13 



Dress m aking Self Taught 

make them small; do not allow them to show on the 
right side. The Basted Hem can be any width, but 
should always be basted as it keeps your work in place, 
otherwise it is done just as the Rolled Hem. The Faced 
Hem is used when there is not enough material or the 
conditions are such as to not make it advisable to use 
the goods itself. A Faced Hem can be made of material 
like the goods or of some contrasting material, and can 
be used on the straight or the bias of the goods. The 
Slip Stitch Hem is used on woolens, silk or velvet, where 
the stitches are not to show on either side. Baste your 
hem, then fasten your thread under first fold; take one 
or two stitches on the first fold of the hem, then a little 
farther on one or two stitches on the cloth. Keep the 
stitches straight with the thread of the cloth so they will 
not show. 

Overcasting is used to finish a raw seam. It con- 
sists of a series of stitches over and over the seam from 
right to left. This keeps the seam from fraying. 

Binding Seams. Use the regular ribbon for this pur- 
pose and hold the ribbon down over the edge of the seam 
while you sew it on. Use a running stitch and use small 
stitches. 

Catstitching is used to finish seams and is made by 
leaving the knot underneath of material nearest to you 
slant silk across to opposite side and take a short stitch 
from right to left, having your needle point away from 
the thread; draw needle out and take another slanting 
stitch. 

Feather Stitching is used to decorate garments. 
Start at farthest point from you and bring needle up from 
beneath, take short stitch toward line along which you 
are working, slanting the stitch towards you and throw the 
silk under point of the needle, drawing the needle through. 
The second stitch is on the opposite side of the line and 
slant it so that it will be the reverse of the one just taken 
and make it the same as the other stitch. 

Fagot Stitching is used for ornamenting. First baste 
folds or ribbon down on to a lining, having them the 
distance apart that you want the width of the fagot 
stitching. This stitch is similar to the Feather Stitch 
and is worked in the same manner except that you put 

14 



I 



Madam Edith Marie Carens 

the needle under the fold and take a short stitch out 
from the center instead of toward the center and draw 
your thread down so that it forms the twist and then to 
the second stitch. 

Blanket Stitch is used to protect and ornament the 
edge of woolen materials. Hold material toward you and 
work from left to right. Insert needle the depth of stitch 
to be desired. Draw needle down and over thread, being 
very careful to let thread be loose. Use coarse silk for 
this work. 

Hemstitching is used to finish linen and various kinds 
of dainty work. Draw threads and baste hem down even 
with outer thread that you have drawn. Hide knot in 
fold of goods. Put needle under cluster of threads, bring- 
ing needle over thread so as to form loop to catch cluster 
together, then take plain slant stitch between clusters so 
as to firmly hold loop. Work from left to right. Use 
the same number of threads in each so as the work will 
look even. 

Seams. Seams are the joining of two pieces of cloth. 
The running seam is the mere joining of the material. 
The French Seam is used to make a neat finish on the 
wrong side. Join your cloth in a running seam, on the 
right side, cut closely, baste into seam and stitch on 
wrong side. In the Fell Seam stitch as usual and trim 
off one side of material, fell other side down flat on to 
the goods. Stitch an ordinary seam, press to one side 
and stitch again for Welt Seam. For Lap Seam turn 
away the edge of your material as in a small tuck, lap 
to the desired distance and baste, when stitched this forms 
the Lap Seam. 

Gathering consists of a running stitch, either by machine 
or hand and pulled into the desired space. 

Cording. Is made on the same principle as is shirring 
or gathering. Use a running stitch, form goods into small 
tuck and insert cord as you join the two sides of your 
tuck together. 

Ruffling. Is made by hemming certain widths of 
material and gathering one side of it. 

Ruching is made on the same orders as ruffling, only 
it usually is narrow and is hemmed on both sides and 
either shirred or plaited down the center. 

15 



Dressmaking Self Taught 



Shirring. Consists of a number of gatherings, either 
plain or tucks, to fill a certain space. 

French Knots. Place knot on under side of material, 
draw thread through, winding thread over end of needle 
twice, insert needle into material again thus forming a 
knot. These are very pretty when made of heavy silk, 
and can be used to ornament dainty waists and collars. 

Buttonholes. Cut hole desired size, and overcast. 
Begin work from inner end so as to have the unbroken 
line where the greatest strain falls. Fasten thread by a 
few stitches on edge of hole. Never use knots. Draw 
needle at right angles and away from edge of hole. Throw 
thread over needle from right to left, drawing needle 
through loop. Always work your buttonhole from right 
to left. Keep stitches even and do not draw thread too 
tight. 

Eyelets. Are used where metal eyes would be too 
conspicuous or where they would be too injurious to 
dainty material. Take several stitches over and over in 
the same place, leaving them just a little loose, then 
buttonhole them together. 

Loops are made in the same manner as the eyelets, 
only the foundation thread is looser, as loops are usually 
used to fasten two edges together with a button and loop. 

Sewing on Buttons. Start on the right side, by 
taking small stitch, leave knot on right side so it will be 
covered by the button. Place button on material, laying 
pin crosswise over the button. Use strong thread. Sew 
over the pin from hole to hole. Fill holes in button with 
as many threads as possible, then remove the pin and the 
button will have the right give. Put needle down through 
one hole of button, wind thread around several times and 
fasten. 

Covering Button Moulds. Various kinds of plain and 
fancy buttons can be made by covering wooden moulds 
with any kind of material desired to suit the style of gar- 
ment. Cut out circles of your material that will almost 
cover twice the size of your mould, gather around the 
outer edge of this circle of cloth, slip in your mould and 
pull up your draw string. Fasten your threads firmly 
and you have a neatly covered button. To make the 
button more fancy, stitch some straps across the circle 

16 



Madam Edith Marie Carens 

before it is applied to the mould — or fancy braid, or 
French knots or perhaps an embroidery design might be 
used. 

Making Trimmings and Ornaments for the finishing 
touches. Pipings are made by cutting the material about 
one and one-half inches wide and doubling, then basting 
to hold the two sides secure. Folds are made by cutting 
bias bands of material and basting together so as one side 
is one quarter inch longer than other, then turn .the 
longer side down over the shorter side, apply to the gar- 
ment and stitch. Do not use this kind of fold on wash 
material, as they do not launder well. To make a flat 
fold cut material the desired width, baste one quarter 
turn on both sides, apply to the garment and stitch. 
Always use a card marker to get the exact width in turn- 
ing folds or hems. Fancy Cording trimming may be made 
of silk or any material desired by using the desired size 
of cord and overhand bias strips over the cord. Shirred 
Bands may be made by stitching a small cord into either 
side of a bias band that has been turned away on both 
sides. By pulling the cords that are run through the 
edges of these bands some very artistic trimming may be 
made. Fancy Motiffs can be made by fagot stitching 
bias bands of material or narrow ribbon by first making 
your design on paper, basting the bands on and using 
the Fagot Stitch to join the parts, tear the paper away 
and you have some dainty ornaments. Shaped orna- 
ments cut out of material, buttonholed around the outer 
edge and applied to a garment makes pretty trimming. 
Designs cut from a good qulaity of broadcloth leaving 
the edges raw is artistic trimming, especially when used 
on silk. Touches of hand embroidery is very good looking 
on every kind of material nowadays. 



TO THE LEARNER. 

Let no impatience or wearisomeness of labor prevent 
you from learning this lesson. Take any inexpensive 
material or scraps that you may have about the house 
and make at least one of every kind of stitch or ornament 
that has been taught you. Look them over carefully and 
see if they are entirely satisfactory to you, if not do 
them over again and again until they are perfect. 

17 



Dressmaking Self Taught 

FIVE RULES TO REMEMBER. 

1 . Have sharp pair of scissors. 

2. Have good ironing board and wax for irons. 

3. Have large cutting table and lots of pins. 

4. Have good traceing wheel and piece of chalk. 

5. Have correct tape line and rulers. 

REVIEW QUESTIONS. 
First Lesson. 

1. How do you make the Fagot Stitch, the Feather 
Stitch? 

2. What are the Five Rules given in this lesson to 
memorize, and why do you think they are important? 
3. Name three different styles of finishing touches for a 
garment and tell how they can be made. 4. How would 
you finish a seam on a plain shirt-waist ? 5. What is 
the most common of all stitches? 6. When do you 
think you would use a Roll Hem, a Slip Stitch? 7. When 
do we use the Back Stitch? 8. Why is basting important 
and tell how the three different kinds of basting is used. 
9. Describe in full how to make a buttonhole. 1 0. Why 
should every girl and woman learn to sew? 



18 



Madam Edith Marie Caren 



11 




RUNNING STITCH 



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BACK STITCH 



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HALF BACK STITCH 



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REGULAR BASTING 

STITCH 



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IRREGULAR BASTING 
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BLANKET STITCH 
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HEMSTITCHING 



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FRENCH SEAM 



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19 



Dressmaking Self Taught 



LESSON II. 



FIVE GORE SKIRT. 

The five measures taken for the drafting of any skirt 
are: Waist, Hip, Length of Front of Skirt, Length of Side 
of Skirt, and Length of Back of Skirt. 

The Waist Measure is taken by placing a tape line 
around the lady's actual waist, and held snugly while 
taking. 

The Hip Line is taken by passing the tape line six 
inches below the Waist Line over the Hips. This measure 
should be taken quite loosely. 

The Length of the skirt in front is taken by placing 
a tape at the bottom of the belt. Measure down straight 
to the floor and out from the toes three inches. If the 
skirt is to escape the ground two inches, then subtract 
two inches from the full length to get the desired skirt 
length, etc. 

Length of side. Place tape about half way between 
front of belt and back of belt over fullest part of hip, 
extending tape down to floor and out about five inches 
from feet. 

Length of back of skirt. Place tape at bottom of 
belt in direct back and extend down to floor and out five 
inches from the feet. 

To cut this pattern we will use a set of measures 
taken from the average size lady. If you wish to cut a 
pattern for your own self then substitute your own 
measures, being careful to take them correctly, as the fit 
of your entire skirt depends solely upon the accurateness 
of the measures. It is the foundation of your garment. 
Practice Measure Taking on any of your family or friends 
until you can take them rapidly and accurately. 

As it has been demonstrated in all high class estab- 
lishments the world over, that it is not at all practical to 
use valuable time in the drafting of individual patterns 
for each customer, so will we teach in these lessons the 
mode used in these places. The world is entirely too 

20 



Madam Edith Marie Carens 

busy nowadays and time too valuable to spend two or 
three hours over the cutting of every pattern to be used. 
Upon investigation in many hundrdes of large stores 
throughout the United States I have found that the mode 
of cutting used therein is the one I am giving you in these 
lessons. 

A good set of plain patterns is procured from infants 
up to as large bust measure as can be procured. From 
each of these cut a set of linings from white cambric; on 
them write in ink the kind of patterns they are. Baste 
them up carefully according to directions and you have 
a Dressmaking System that will fit you for any kind of 
high-class work — and will save you hundreds of dollars 
in time in the course of a year. 

It is not necessary that you purchase all these pat- 
terns at one time — you can get them as you need them. 
To make elaborate garments, it is all done by draping and 
using the plain foundation as a guide; all this work you 
will get in later lessons of this course. 

Make for yourself a filing case for these patterns. 
Use a long strip of the cambric and lay onto it another 
strip of the cambric the same length and twelve inches 
in width. Stitch the two pieces together every four 
inches, thus forming pockets in which to keep these pat- 
terns. On top of every pocket write in ink the kind of 
pattern enclosed. Your patterns are all together then 
and you do not need to waste time searching for them. 

When you wish to cut a garment, you select such 
patterns from the filing case as will nearest fit your cus- 
tomer, this to be determined by measures taken of your 
customer. 

Fit your plain five gore skirt pattern that has twenty- 
four waist size on your customer. By taking the measure 
of your pattern, you found it to have twenty-five inches 
waist; around hip, forty-two inches; length of skirt to 
be finished in front thirty-eight inches; side forty inches, 
and back forty inches. 

In this lesson we will suppose the lady whose five 
gore skirt is to be made has a waist measure of twenty- 
four and one-half inches, hip measure forty inches and in 
front a distance of forty-two inches from waist to floor — 
forty-three and one-half inches on side and forty-three 

21 



Dressmaking Self Taught 

and one-half inches in back. The skirt is to be finished 
two inches from floor, then the finished garment must be 
in front forty inches from waist to bottom of hem, forty 
one and one-half inches on side and forty-one and one- 
half inches in back, but we must allow for a hem. Four 
inches is the desired width of hem for the Summer of 
191 1, but the width of hems vary as much as do sleeves, 
so change width of hem according to prevailing fashion. 

In fitting you will find that the skirt is two inches 
too large in hip. Now pinch up bias side of side gore of 
skirt one-half inch on each hip and down to as far as re- 
quired. At waist line only pinch in one-eighth of an 
inch, as you see the waist measure of your pattern is only 
one-half inch larger than your customer. 

You will also note that the length of skirt of the 
customer is to be forty-five inches finished, including a 
four inch hem and seam allowance, while the pattern 
only measures forty-three inches in front, forty-five inches 
on side, and forty-five inches in back, including hem and 
seams. 

By turning up the hem of your pattern four inches 
on your customer you find then that it is too inches 
shorter in front than she desires — one and one-half 
inches shorter on the sides and one and one-half inches 
shorter in the back. Now it is a very good plan to use a 
card marker two inches wide — as your customer wishes 
her skirt two inches from floor — pass the two inch card 
marker around the skirt, between skirt and floor, while 
your customer is standing on a table; do this as you pin 
it up. This is a very satisfactory way to hang a skirt. 

You will now see just about how the pattern fits 
your lady. Take it off, mark with colored thread where 
pins are — rip it at seam where alteration was taken and 
lay two sides to be altered together — pin securely and 
with your tracing wheel trace through both sides the 
desired alteration. This will be the sewing line of the 
finished skirt. 

With the same colored thread mark with a long 
stitch one half way around bottom of pattern where you 
turned it up. Pin the pattern together carefully at top 
and bottom and trace through the colored mark at bot- 
tom so as the other side of the pattern will be the same. 

22 



Madam Edith Marie Carens 

If four inches is the width of hem on this skirt we 
must add four inches to the finished length of skirt. We 
also must add one inch for seam allowance — half inch 
at top and half inch at bottom — therefore, the skirt when 
cut must measure in front forty-five inches, on side forty- 
six and one-half inches, and in back forty-six and one- 
half inches. 

See Figure 41 to cut without pattern. 

The pattern is now complete for the five gore skirt. 

Have your cloth sponged if woolen material, shrunk 
if cotton or linen; silk requires neither. Take particular 
note of the up and down of your goods. Velvets and 
broadcloths have a knap that should extend downward 
on every piece of your garment. Some materials have 
certain figures or designs. Be careful that each gore 
should be laid on the goods so that when they are joined 
the designs will match as they were intended. Plaids and 
stripes should be given the same attention. 

In buying your material for a skirt be sure that you 
get good quality, as an inferior grade will not stand the 
required pressing to give the finished garment the desired 
look. Buy only a sufficient amount of material to cut 
your skirt with ease. For the plain five gore skirt you 
can always figure on two lengths of your skirt including 
hem and curve at waist, when using material that is 
at least forty-four inches in width, providing there is no 
up and down or right and wrong to the cloth. If you find 
such conditions as these, always allow one more length 
of double width in buying. Note all this before taking 
your goods from a store. 

You are now ready to cut your skirt. Fold your 
goods on a straight lenghtwise fold and lay pattern of 
front gore on this with straight of pattern to fold of cloth. 
Three-eighths inches is the usual seam allowance. In 
cutting do not forget the half inch seam allowance at top 
and bottom and the four inches intended for hem, or you 
will be obliged to face your skirt and that is not desirable 
nowadays. 

Be careful to always use the straight of your pattern 
to the straight of your cloth. The lowest point in the 
curve line at waist should always be to the straight of 

23 



Dressmaking Self Taught 

goods. Lay all of the gores on your material before cut- 
ting one of them to be sure that you have sufficient quan- 
tity of goods. Have goods double so you cut both sides 
at once, except in plaids or figured materials that have a 
decided up and down, for these must be carefully laid 
together that all stripes or figures may match. 

Cut your lines straight and even or your finished 
seams will have a zigzag appearance. Pin your pattern 
carefully on all gores before cutting into your material, 
as it may save many a heartache. There are five pieces 
in a five gore skirt — the front gore — the two side gores 
and the two backs. 

When the gores are all cut join together by first 
pinning the side gores to the front gore while the cloth is 
laying flat on the table. Insert your pins every three or 
four inches on a crosswise of your material as they are 
liable to pick up more goods on one side than on the 
other and give the finished seam a puckered look. Begin 
basting from the top and baste with small running stitches 
to a little below the hip line, then use the Irregular Bast- 
ing Stitch — two short stitches and one long. Always 
baste the two seams together by having the straight of 
the goods on top and baste three-eighths inch seams as 
you have allowed that amount in cutting. Use a small 
piece of cardboard that is notched the exact width of the 
seam and use this while basting to have your work accur- 
ate. Baste while cloth is still on table and flat. 

Remember that you always have a straight and bias 
seam coming together, never two bias seams except in 
the middle of the back or when some special style of 
skirt is desired. 

In basting the gores together be sure to baste the 
side gore and front gore before beginning the seam where 
side gore and back gore join. Handle as little as possible 
until skirt is stitched. 

You are now ready for the fitting and if you have 
taken your measures carefully and followed your direc- 
tions to the very letter in cutting and basting, your skirt 
should fit without a single alteration, but if you find that 
it is a little too large all over, then stitch slightly inside 
your basting line. It is best to always stitch just a very 
little on outside of basting line anyway unless you find 

24 



Madam Edith Marie Carens 

the skirt a great deal too large, as your basting threads 
do not hold your gores as tightly as the stitching and you 
are apt to get your skirt too snug. Be sure to avoid too 
tight fitting about the hips, as the skirt will then roll in 
an unsightly manner. 

When the skirt is on for fitting note carefully if the 
seams extend from the bottom up in a correct perpen- 
dicular line and that they do not skew from hip line up. 
In case you find they do, through some inaccurate cut- 
ting, then take up on one seam, and let out the same 
amount that you have taken up on other seam. 

When everything has been found correct, then you 
are ready for stitching. Place your work on the machine 
with straight side of your seams up. You will be obliged 
to stitch one half of your skirt from the top and one half 
from the bottom, or you will get your work skewed. By 
stitching in this manner you stitch away from the edge 
of your material, thus avoiding a crowding down of the 
material. Do not have too tight a stitch on your ma- 
chine. If your material happens to be of soft silk or 
other dainty material it is advisable to stitch it on paper 
or run up the seams by hand, using a very fine running 
stitch for the work 

Do not close the middle back seam until later — do 
not even baste it up yet. 

Pick out your basting threads by clipping threads 
now and then and press. Be careful to not stretch your 
seams in pressing. If cloth has been used for the skirt 
bear very heavy on the iron and pound seams with 
iron. It is pressure that counts here instead of motion. 
If silk has been used in this garment then use moderately 
hot irons, as heat is very destructive to silk. In all 
cases be sure to use a cloth in pressing — if cloth or 
cotton use it damp, but on silk use no water. 

Cut a belt of your material the waist size, allowing 
one-half inch at each end for seams and allow for what- 
ever the skirt laps at placket. Cut this one and one-half 
inches wide and face with silk or a soft lining. When 
finished the belt should be three-fourths of an inch in 
width. Now pin your skirt to the belt. Be sure to have 
to center of the skirt the center of belt. The waist of 

25 



Dressmaking Self Taught 



the skirt should join to the belt with ease or the seams 
will appear strained. Prepared belting can be used. It 
is found at all notion counters and comes at ten and 
fifteen cents per yard. 

Overcast all seams with heavy self colored thread, 
bind by hand with seam binding or bind with narrow bias 
bands of thin silk or lining. The latter mode of binding 
makes your skirt appear more tailor finished, but care 
must be used in applying this or your seams will be held 
in by the binding. Stitch these bias bindings on right 
side of your seams with small seam and finish up on right 
side. Do not allow your binding to run down into your 
hem as it makes the hem clumsy. All outside seams of 
skirts can be finished with welt or lap seams and stitched 

The Placket. Use a straight piece of material like 
your skirt with a piece of light canvas, as inner lining so 
hooks will not show through. Cut the placket facing 
about eleven inches long and one and one-half inches in 
width. Stitch on wrong side of goods to right side of 
opening, turn, baste and finish by hand with invisible 
stitches. Great care should be maintained to get a neat 
finish to the placket ,as it is the most prominent portion 
of the skirt. The underlap should be same length as 
facing, but twice as wide. Stitch on right side, turn over 
and stitch on right side allowing it to extend out at least 
one inch. Press and sew on hooks and eyes or clasps. 
A light weight facing can be run over hooks and eyes. 
Remember the skirt should have the right side to lap over 
the left in closing. 

Baste up the back seam with a straight piece of lining 
or light tape for a stay, as you have two bias seams to- 
gether here and they will sag and give that ugly hang at 
bottom after the garment has been worn a short while. 
Stitch and press. Finish seam as others have been 
finished. 

Try on skirt again to see if it hangs evenly around 
bottom. If every precaution has been used, you will 
find that your hem will turn up just the four inches that 
were intended But in case you find the skirt appears 
uneven, then have some one turn up skirt at bottom 
until it is found to be of even distance from floor all 
round. Baste hem in by first basting the lower edge, 

26 



Madam Edith Marie Carens 

then turn the upper edge of hem in one-half inch and 
baste by using a card marker as a guide to keep the hem 
even width all around. Use the irregular basting stitch for 
this. Press all seams again and then try on once more 
before stitching in hem and on belt. Always stitch hems 
from right side. The hem can be felled if you do not 
care to have the stitches show. 

Sew a three inch piece of tape lengthwise to belt 
in center front and center back as hangers. Press again 
thoroughly and your skirt is complete. 

If trimming is desired use nothing more than shaped 
bands or buttons, as cheap braid or other trimming will 
ruin your skirt and destroy that tailored finish. 



TO THE LEARNER. 

Practice measure taking until you can take skirt 
measures quickly and accurately. 

Draw many diagrams of the plain five gore skirt 
on paper with different measures until you understand 
every principle of the drafting, then draw the diagram 
of a skirt as if you were going to cut a skirt of material. 
Cut the paper pattern out and join each part together as 
they should belong were you using cloth. 



FIVE RULES TO REMEMBER. 

1 . Have good waist and skirt forms on which to drape 
your garments. 

2. Always use good needles. No. 6 and 7 are good 
sizes to use for ordinary purposes. 

3. Hooks and eyes. Never use too large hooks — 
No. 2 for linings and plackets, No. 3 for skirt bands, and 
No. 1 and 2 for collars and on garments where there is 
no strain. 

4. Have all goods shrunk or sponged before making 
up. 

5. Be sure to always get good linings, as a poor 
quality does not hold its shape. 

27 



Dressmaking Self Taught 

QUESTIONS FOR REVIEW. 

1. How many side gores in the five gore skirt? 

2. What is the foundation on which all skirts are cut? 

3. Describe fully how you may fit a five gore skirt. 

4. Name the five rules of this lesson. 

5. Tell how you would take skirt measures. 

6. Why do we fold material in cutting the front gore? 

7. Describe the construction of a placket. 

8. Explain fully the pressing process of any skirt. 

9. What do you know about belts? 

10. How do you get an even length on all skirts? 



28 



Madam Edith Marie Carens 



LESSON III. 



THE PLAIN SHIRT WAIST. 

The thirteen measures necessary for the cutting of 
the Plain Shirtwaist are: 

1 . Bust Measure — taken over the fullest part of the 
bust, close up under the arms and high in the back. 

2. Waist Measure — taken tight around the waist. 

3. Neck Measure — taken at base of throat; rather 
an easy measure. 

4. Armseye Measure — taken easily around arm, just 
where it fits into the socket. 

5. Length of Back — taken from base of neck to 
waist line. 

6. Width of Back — taken from one armseye to 
other at a point which is one quarter the distance from 
waist to neck. 

7. Length of Shoulder — taken from base of neck at 
side out to where arm slopes. 

8. Underarm Measure — taken well up under arm 
to waistline. 

9. Length of Front — Taken from base of neck to 
waistline. 

1 0. Width of Front — Taken from one armseye to 
other two inches below base of neck. 

1 1 . Length of Sleeve around Upper Arm — taken 
about half way between armseye and elbow. Allow about 
four inches for easy shirtwaist sleeve. 

12. Length of Sleeve — taken from armseye in front 
to a little below bone in wrist. 

13. Around the Hand — taken around the broadest 
part of the hand, over thumb. 

The first eight measures should be taken while stand- 
ing at the back of the person being measured. 

There is a wide range of choice in materials for the 
Plain Shirtwaist. Most any material in wool, silk, cotton 

29 



Dressmaking Self Taught 

or linen may be used, providing it has plenty of body, 
as flimsy goods will not look well in this style of waist. 
Aim to have the material harmonize in color with the 
skirt with which it is to be worn. Above all, never have 
a waist darker than the skirt accompanying it, as it will 
make the wearer appear topheavy. 

If the waist to be made is woolen, be sure to have the 
goods sponged before cutting. This is a simple way of 
doing it, if it has to be accomplished at home: Ring a 
sheet as dry as possible, spread out your goods over the 
sheet so as the wet sheet touches every part of your 
cloth, roll tightly and leave for several hours. Then un- 
fold and press on wrong side with hot iron, using a cloth 
between iron and your goods. 

If your material for waist is of cotton or linen, shrink 
it. Thoroughly immerse in cold water and hang up until 
partially dry. Press on wrong side. If your material 
is double width, do not unfold, but press with goods on 
double and it will look like new. 

If your waist is to be made of silk, it will require 
no previous attention before cutting. 

For the average bust measure, 36 in, three yards of 
material 27 in. wide are required. Two and one-half 
yards of material if it is one yard in width. And two 
yards of material if goods is 44 in. in width. These 
figures are given presuming there is no right nor wrong 
nor up nor down, nor figures nor stripes to match. These 
things should all be considered before the material is 
taken from the shop. 

Select for yourself any good pattern that is as near 
the bust measure as possible of the lady for whom the 
waist is being made. If the exact measure cannot be 
obtained, then get the size smaller, as all the stock pat- 
terns r run large. We will use an average set of measures 
for the pattern we are about to use, from which we will 
cut our waist: Bust 36, Waist 24, Neck 13, Armsize 16, 
Length of Back 15, Width of Back 14, Shoulder 5^, 
Length of Underarm 9, Length of Front 16, Length of 
Sleeve 19, Around Upper Arm 15, Around Hand 8. 

And we will presume the following measures are the 
ones you found by measuring the party whose waist you 

30 



Madam Edith Marie Carens 

are about to make: Bust 37, Waist 26, Neck 14, Arms- 
eye 1 6, Length of Back 1 6, Width of Back 1 4^, Shoulder 
5, Underarm 9^, Length of Front 17, Width of Front 17. 
Length of Sleeve 18, Around Upper Arm 12, Around 
Hand iy 2 . 

Measure your pattern carefully and allow or deduct 
as is necessary. If your pattern measures 36 bust and 
you want to make a waist 37, then allow 3^2 inch extra 
on each side of the front piece where it joins under the 
arm. The length of the Back in your pattern is 15, and 
the waist upon which you are working is 16. Mark out 
the armhole, shoulder and neck, and two in. below arm- 
size, then slide pattern one inch down and finish. The 
waist measure does not matter as in this waist it is loose 
at waist line. 

The Neck Measure in your pattern was 13, you wish 
it 14. Trim neck size very slightly and you will have 
the extra inch. Or let out 34 inch on double on shoulder 
at neck. 

Arm size of pattern 16, and you want it 17. Trim 
out slightly for to get size. Or let out 34 in. on double 
under arm and 34 in. on double at shoulder. 

Width of Back of Pattern is 14 and you wish it 143^. 
Add 34 in. to each side of back at armhole. 

Shoulder of pattern, 53^, and you want it 5. Trim 
off on top of armsize 3^ in. 

Length of Underarm of pattern is 9 and you wish it 
9J/2 in. Mark out around your pattern two inches down 
from top, slide down pattern J^ in., and cut rest of under- 
arm. 

Length of Front of pattern is 16, and you wish it 
to be 1 7. Cut as directed for lengthening back. If 
these measures were to have been shortened instead of 
lenghtened, then we would follow the same method, only 
instead of sliding the pattern down we lay a tuck in the 
pattern, 2 in. below armseye, the desired length to be 
shortened. 

Width of Front of Pattern is 1 6, and ycu wish it 1 7. 
Spring the pattern 1 in. below the base of the neck to x /% 
in, 3 in. below neck. This gives the extra 1 in. To 
spring the pattern lay your 36 Bust Pattern on the paper 

31 



Dressmaking Self Taught 

you are cutting your new pattern from. Lay with 
straight of front to double of paper in center front and 
spring as directed. 

Length of Sleeve of Pattern is 1 9, you wish the sleeve 
to be 18 in. Lay Y2 in tuck in pattern, 3 in. below the 
armsize in front. 

Upperarm of Pattern measures 15, you wish it 12. 
Lay \}/2 in. tuck down the center back of sleeve pattern 
and cut. 

Around Hand, in measuring pattern, you have 8 in. 
and you wish it 7J^. Stitch cuff with 3^t in. deeper seam 
at each end. 

After you have the new pattern cut and fit to the 
proper size, you are ready to use your cloth. Pin all 
patterns carefully to the cloth. Thumb tacks can be 
used to good advantage in holding pattern and cloth 
fast to cutting table. 

Fold your material on a lengthwise thread. Lay 
center back, edge of pattern to this fold. The piece that 
is left over from this will cut the collar band, sleeve 
laps, cuffs, etc. Cut fronts on the double, by laying 
center front of pattern to double edge of goods. Right 
here be careful to allow 1 in. for hem down front. The 
Plait is usually put on extra. 

Cut sleeve from remaining length on double of goods 
as in front and back. Be very sure to have a straight 
of the goods down center of sleeve where it folds, or the 
sleeve will twist. If your material is figured or checked, 
do not cut sleeve on double, but cut one sleeve, then lay 
your material on for second sleeve in such a manner that 
your figures in goods are all running down and that they 
match, also see that the stripes match. Cut the over- 
laps and the underlaps of the sleeve slash from a straight 
lengthwise piece of material. The overlaps should be 
1 in. wide when finished and 4 in. long. They should 
finish with a point. Stitch overlap which is cut 2 in. 
wide so as seam is on right side of sleeve, turn over to the 
1 in. width and stitch once all around. The underlap 
should finish up the same way and should be % in. wide 
when finished. 

Cut cuffs always with lengthwise thread of goods 
going round. Cut four of these cuff pieces, two are for 

32 






Madam Edith Marie Carens 

the lining. In silk or woolen waists, a light weight 
canvas should be used to interline the cuffs. The cuff 
pieces should be cut about 10 in. in length, allowing Y2 
in. at each end for seams. They should be cut 3 in. wide, 
and finished up to 23^ in. Cut 2 pieces of butchers linen 
with which to interline cuffs if the material is cotton or 
linen. Interline plait down front, which should be cut 
on straight of goods and be 1 3^> m - m width when finished, 
therefore cut piece to be used as plait 3^ in. wide. 

The Collar Band should be cut double — either 
lengthwise or crosswise of cloth. Have it the neck size, 
allowing the amount extra to it that is in the plait and 
underlap on front of waist. This underlap facing is a 
straight piece about \ x /i- m - wide and fastens to the left 
side of waist. 

When the waist is all cut you are ready for basting. 
Baste according to indications in the pattern. Baste 
with all seams on right side. Use small stitches. Try 
on and if you have followed your directions carefully it 
will need no altering. In case the waist seems loose on 
the shoulder, pinch up the required amount. If it appears 
tight and drawn, clip your thread on shoulder and loosen. 
Fit smoothly and easily. Nothing so much mars the 
shirtwaist as to have it appear drawn and pinched. 
If waist seems tight across bust, let out seam under 
arm; if it appears loose and baggy under arm, pinch 
up on the double, unless the extra bagginess seems 
to come in on the front portion of the waist. In that 
case, take the pinch in cloth entirely off of the front, at 
underarm seam. If long on shoulder, or wide across 
front or back, trim out armsize, slightly on sides and top. 

Fit neck carefully; do not pare it too low, as great 
labor is required to restore it. If cut too low take up 
shoulder seams, if it is only the front that is low, then 
only fit fronts on shoulders. Fit neck a little tight and 
stretch slightly when applying collar band. If these pre- 
cautions are followed, you will have a well fitting collar. 

Fit armseye with ease. Keep it as small as possible. 
If paring is required, slash slightly while it is on the 
figure so it fits easily. When waist is removed, pin all 
parts of the waist together, and trim out armsize the 

33 



Dressmaking Self Taught 

amount indicated by the slashes. Above all, do not pare 
armsize too much as it is impossible to remedy by alter- 
ing. 

Place a piece of white tape around the waist and 
pin the fullness at back to this. On dainty silk blouses, 
use a piece of heavy satin ribbon, as it gives a finish to 
the garment. In fitting this fullness at waist, allow ease. 
Leave fronts loose if the waist is to be laundered. After 
waist is removed and necessary alterations have been 
basted you are then ready for the stitching. Stitch seams 
on right side a shade on the outside of the basting line. 
Be sure you have your basting line at each shoulder alike 
also the underarms alike. When stitching is finished, 
clip the front of the shoulder seams short and lap the 
back over the front so as to form a good J^ in. seam. 
Baste down and stitch again. Do the same to underarm 
seams. This finish gives to the garment that tailored 
appearance. French seams could have been substituted 
instead of these, but they haven't the smartness con- 
nected with them that the welt seams have. 

Be sure that the neck band is slightly larger than 
the neck for it to fit well. In applying this band, hold 
the neck of your garment to the lining side of band and 
baste, stitch and turn the right side of band so as it fin- 
ishes on right side of waist. Stitch all around band. It 
is advisable to interline this band with butchers linen 
the same as the cuffs and plait. 

Stitch two rows of gatherings about ^ m . apart at 
waist line between the underarm seams. Apply the tape, 
leaving a distance a little less than half the waist measure. 
Have tape so that it will tie in front or fasten with a 
hook and eye. 

Hem down lower edge of waist with tiny hem, bind 
with seam binding or overcast with heavy thread. The 
latter is preferred on heavy materials. Silk seam binding 
may be used on silk waists. 

For stout people, always use a peplum to keep waist 
inside of skirt. It is a circular fitted piece of lining or 
silk and is attached to waist at waistline. The fulness 
of the front of waist at waistline is laid in plaits and a 
piece of tape the waist size is stitched over the joining 
of the peplum to the waist. But even for stout people 
it is best to leave a tub waist loose in front. 

34 



Madam Edith Marie Carens 

The sleeves should be finished before basting in 
waist. Finish the underlap and overlap in slash before 
sleeve is sewed up. Stitch up sleeve and apply cuff. 
Put two rows of shirring at bottom of sleeve, and pin on 
cuff, allowing most of the fulness to come under the 
sleeve. Baste and stitch, Baste with seams right side 
of sleeve, stitch and turn down top of cuff and stitch again. 
Stitch all around cuff about 34 inch from edge. 

Put two rows of shirring at top of sleeves, the first 
to be 34 in. from top edge of sleeve. This shirring 
should be 34 in. apart and should begin 1 in. from seam 
on top and 5 in. from seam underneath. Pin sleeves into 
armseye with the fulness between 5 in. in front of shoulder 
seam and 3 in. back of shoulder seam. There is no set 
rule as to where the seam should come in setting in the 
sleeve, as this varies according to the size of the armseye. 
and the position of the underarm seam. Always get the 
proper inserting of the sleeve by pinning in the sleeve 
while the waist is on the figure. Baste the sleeve to the 
armseye, not the armseye to the sleeve. Try on and see 
if the fulness falls in an easy manner and does not drag. 
If the sleeve does not feel comfortable, it probably needs 
to be lifted a trifle. Stitch in sleeve with small bias bind- 
ing under, and turn down binding and stitch again. Or 
you can set the sleeve J4 in. back from armsize all around, 
stitch, cut the seam on the sleeve close, and turn the 
waist part over the sleeve into a welt seam and hem. 
This finish to the armsize is ever so much more tailored. 

Make four buttonholes down the plait of front and 
cut them lengthwise of plait. If tiny buttons are desired 
then use more buttonholes, but the four larger ones look 
better. Make buttonhole in each end of neckband where 
it should meet when fastened. Make one in center, back 
of band, also. The buttonholes in front of the band 
should be made by first punching a little round hole in 
the band and then cutting the hole the desired length. 
Buttonhole stitch around the hole and work straight bar 
across opposite end of the hole. Make buttonholes in the 
cuffs the same way. Have buttonholes a little to the 
lower of the center of the cuffs and 3^2 m - from edge of 
cuff. Mark now for your buttons on front of waist, by 
lapping the buttonhole side over the opposite, as it should 
be when meeting. Sew on buttons by having a pin under- 

35 



Dressmaking Self Taught 

neath: this keeps button from being sewed too tightly. 
When thoroughly sewed, pull out pin, wind thread around 
button twice and fasten. 

Study the different forms with which you come in 
contact, study shapes and outlines, learn to detect mis- 
shapen garments, and see at a glance in your mind's eye 
where they can be rectified. Make this such a part of 
your very self that you can soon be able to draft a pattern 
that will fit any figure. You will soon be able to see that 
the lines are exactly correct, the proportions perfect and 
the garment cut with perfect curves. 



TO THE LEARNER. 

We would impress upon you the necessity of thor- 
oughly mastering each lesson as it is taken up. Do not 
leave it until you are as familiar with it as you are with 
the ABC's. 

Take different sets of measures and cut patterns 
from different stock sizes to correspond. Make up three 
sets of measures and alter a 34, 40 and 42 Bust Pattern 
so as the patterns will correspond with your set of meas- 
ures. 

Take particular note of the illustrations, study them 
carefully. Read your lesson and note how it corresponds 
to the various diagrams. 

Practice the making of three shirtwaists before fin- 
ishing this lesson. Practice the making of buttonhles 
on odd pieces of cloth. 

Be sure you know thoroughly how to adjust the 
overlap and the underlap in the slash of the sleeve. 

If you have learned this lesson as you ought, you 
should be able to alter any pattern to fit any set of meas- 
ures, or to purchase the material, design, cut, fit and finish 
any plain shirtwaist, showing scientific knowledge of the 
garment and first class workmanship and giving it the 
professional finish. 

36 



Madam Edith Marie Carens 

FIVE RULES TO REMEMBER. 

1 . Cut all linings for waists crosswise of lining. 

2. Cloth, velvet, figured material with an up and 
down or plaid should be cut with pieces all the same way. 

3. Do not use too coarse silk or cotton — they do 
not make a pretty stitch. 

4. Press cloth seams open. Hold seam open and run 
damp cloth along seam; press with moderately hot iron. 
Unless goods have been sponged great care should be used 
to not dampen goods too much or it will draw up and 
spot. 

5. Cut off all selvage in cloth as it will cause your 
seams to pucker. 



QUESTIONS FOR REVIEW. 

1. Name the 13 measures necessary for the drafting 
of a waist. 

2. Tell how to shrink woolen and linen material. 

3. Describe fully how to lay pattern on goods in 
cutting. 

4. How would you alter a shirtwaist stock patterm 
that was 40 Bust and 1 5 in. Length of Back to fit a party 
with 39 Bust and 14 in. Length of Back? 

5. Flow would you fit a shirtwaist? 

6. Describe the different methods of finishing the 
bottom of waists. 

7. Tell briefly how you would finish the slash in a 
shirtwaist sleeve. 

8. How would you baste in a sleeve. 

9. Tell how to adjust a neck band properly. 

10. What about the cutting of materials that have 
figures, stripes, checks and a right and wrong? 



37 



Dressmaking Self Taught 



LESSON IV. 



SLEEVES. 

The seven measures necessary for the cutting of a 
sleeve are: 

1 . Length from Armsize to Hand — taken from 
armsize in front down inside arm to hand. 

2. Length from Armsize to Elbow — taken from 
armsize in back to bone in elbow. 

3. Length from Elbow to Hand — taken from Elbow 
to bone in wrist. 

4. Around Upper Arm — taken very loosely around 
upper arm, half w r ay between elbow and armsize. 

5. Around Lower Arm — taken very loosely around 
lower arm half way between elbow and hand. 

6. Around Hand — Taken very loosely around full- 
est part of hand v/ith thumb closed. 

7. Armsize — taken around arm where arm joins into 
socket at shoulder. 

HOW TO CUT PATTERN FOR SLEEVES. 

Use a perfectly plain stock pattern for the kind of 
sleeve you wish to make, long or short, loose or tight. 
All sleeve patterns are gauged by the Bust measure, 
therefore in purchasing sleeve patterns always procure 
such size as the bust measure is of the party for whom 
the sleeve is being made. Fit yourself with a set of 
linings for sleeve patterns the same as recommended in 
Lesson Two, and you will always have a lining you can 
fit on when you are preparing to make a sleeve. Fit this 
lining, take alterations necessary, open up the seams and 
you are ready to cut sleeve. 

We will use the average set of measures for the 
finished pattern we are about to cut: Armsize to Hand 
17J^, Armsize to Elbow 13, Elbow to Hand 123^, around 
Upper Arm 13, around Lower Arm 11, around Hand 9, 
Armsize 16. 

38 



Madam Edith Marie Carens 

And we will presume the following measures are the 
ones you found by taking the lady's measures for whom 
you are about to cut a pattern for a sleeve: Arrnsize to 
Hand 19, Arrnsize to Elbow 14, Elbow to Hand 133/2, 
around Upperarm 12, around Lowerarm 10, around Hand 
8, Arrnsize 1 7. 

Measure your pattern carefully and allow or deduct 
as is necessary. If your pattern measures arrnsize to 
hand 1 73^ in. and you wish it 1 9, then allow a % in. tuck 
in the new pattern. Arrnsize to Elbow 13, you wish it 
14, take 3^2 m - tuck in upper portion of new pattern. 
Elbow to Hand 12^2, you wish it 13^, take a 3^2 m - 
tuck in lower portion of new pattern. Around Upperarm 
13, you wish it 12, take seams at front and back }/£ in. 
deeper if the sleeve is two-piece and if only one piece, 
then take seam 3^2 m - deeper. Around Lower Arm is 1 1 , 
you wish it 10, take seams up same as in upper portion 
of sleeve. Around Hand 9, you wish it 8, alter same as in 
upper portion of sleeve. Arrnsize 16, you wish it 17. 
As you near the top of the sleeve, stitch out 3^ in. on front 
and back seam if a two-piece sleeve is used, and if it is 
a one-piece sleeve, then stitch out 3^ in. from the original 
basting line. 

After you have your new pattern cut and fit to the 
proper size, you are ready to use your cloth. A cheap 
grade of lining is the proper material to use for the new 
pattern. 

Never lengthen or shorten a sleeve pattern at top 
or bottom, unless the alteration is very slight. 

Sleeves often draw across the top, owing to their 
not having the proper shape at top, usually they are cut 
too short here. If short shoulders are used then the 
sleeve should have a long rounded portion at top; if long 
shoulders then this top portion should be short. 

In your stock pattern you noticed a set of heavy 
perforations in the center of your pattern. These indi- 
cate that your pattern is to be laid on your cloth with 
the perforations on the straight lengthwise of your mater- 
ial. Pin cloth and pattern carefully together, cut, pin 
and bast even with more care. Pin all parts together 
according to notches indicated, then pin sleeve together 
at top and then at bottom; baste with small stitches and 

39 



Dressmaking Self Taught 

try on. If you have followed this lesson carefully you 
will have no trouble in making a well fitting sleeve. 
Notice that all parts fall naturally or you will have an 
ill fitting sleeve. 

It is quite advisable to have several sizes of sleeve 
forms on which to drape your sleeves. These are made 
by using a tight fitted lining and stuffing solidly with 
cotton or hair. Fit in a piece at top and bottom to keep 
the filling in place. 

After a sleeve has been fit and all necessary alter- 
ations taken it is ready to stitch. Stitch slightly on out- 
side of basting line; pick away all bastings and press on 
sleeve board. Clip every few inches to keep them from 
puckering. All seams should be overcasted closely. But 
in case of wash material or other soft flimsy goods, 
then it is best to French-seam, or bind seams. 

This pattern may be used as a tight lining on which 
to drape an outside sleeve, or it may be used as a plian 
tight fitting sleeve. If it is used as an outside sleeve, it 
may be trimmed in any way according to the prevailing 
fashion. 

The shirtwaist sleeve may be most any style, shirt 
sleeve, a long tight sleeve, a long loose sleeve, a short 
tight sleeve, or a short loose sleeve. These sleeves may 
be plain or fancy, all depending on the mode of the 
moment. 

Always use a stock pattern the desired size and alter 
according to the measurements of the party for whom 
the sleeve is being made. All sleeve alterations are made 
according to instructions given in this lesson. 

The Shirt Sleeve has been thoroughly described in 
Lesson 3, study it again carefully. 

The Plain One Seam Dress Sleeve. When your pat- 
tern has been altered according to rules, baste, stitch, 
press and finish the same as the Two Seam Sleeve. 

For a Short Tight Sleeve, you can either use a One 
Seam or a Two Seam Sleeve pattern and cut away to the 
desired length or you can always get a short sleeve pattern 
and alter as per sleeve instructions and cut off to the 
desired length or you can always get a plain short sleeve 
pattern, either one or tv/o piece or tight or full. Or you 
can cut your own short sleeve pattern by following these 

40 



Madam Edith Marie Carens 



simple directions. Fold a piece of paper so that it mea- 
sures one inch wider than the armsize. Take the meas- 
ures around your arm where the bottom of your sleeve 
will come, slope your sleeve gradually from armsize to 
the bottom. The rounded portion should vary as to 
length according to length of shoulder. A long shoulder 
requires a short curved portion and vice versa. These 
directions call for the cutting of a plain one piece tight 
fitting sleeve. A one piece loose sleeve may be cut by 
adding as many more inches for the size around as is 
desired that the sleeve should be fuller than the tight 
fitting sleeve. Always cut the sleeve a little shorter 
on top at lower portion than it is underneath, this allows 
for the bending of the arm. 

Six Styles of Fancy Sleeves: We might suggest here 
a dozen styles of fancy sleeves, but it would be useless 
to go into such detail, as styles change so rapidly; but 
the sole object of this lesson is to teach the pupil to cut, 
fit, make and finish six distinctly different fashions of 
sleeves that are in vogue when this lesson is being studied. 
Try to originate the designs of these yourself, but if you 
lack that art of designing then copy them from a fashion 
book, and make and trim as suggested in the picture. 

Six Styles of Cuffs. The Shirt Sleeve Cuff has a 
straight piece of material cut double and interlined with 
butcher's linen, providing it is a tub w T aist; otherwise it 
should be interlined with light canvas. It is usually cut 
about ten inches long and 3 inches wide; it is basted and 
stitched on the wrong side, turned to the right, and stitched 
once again all round \^ in. from edge of cuff. 

The Peter-Pan Cuff is cut slightly circular, is lined 
with same material and has interlining of light weight 
material. This cuff is worn with a short sleeve, but the 
same style of cuff can be made for the long sleeve, but 
it is not cut quite so circular. 

The Long Tight Fitting, or Musquiteer Cuff is made 
by using the goods on the double, the exact size of the 
arm at top and bottom of cuff. Always close this kind 
of cuff at back, and it is advisable to leave it open a dis- 
tance, the opening to be closed with small hooks, or tiny 
buttons and loops. Such a cuff may be made or the 
material of the garment, either plain or tucked or strapped; 
it may be made of bands of tucking and lace joined; it 

41 



Dressmaking Self Taught 

may be a cuff of shaped design, or it may be ornamented 
in various ways, just as fashion sees fit. Use your own 
designing powers and see just how many dainty cuffs you 
can make, all representing originality. Buttons are 
usually used to good advantage in sleeve decorations. 
Dainty sprays of embroidery, fancy stitches, or perhaps 
rows and clusters of French knots are always ornamental, 
and give that finished look so much desired. 

The plainest and most common of all cuffs is the 
Band Cuff. It is a straight piece of the material or of 
trimming, cut the length to fit around that portion of 
the arm where the bottom of the sleeve will come. It 
is cut on the double of the goods; it is stitched together 
at the ends; one side is basted to the sleeve so that the 
seam comes on the right side, and the other side of the 
cuff is turned over this, and stitched on the right side of 
sleeve. 

A wide or narrow piping of the material or of trim- 
ming may be used in the form of a cuff for either the 
short or the long sleeve. 

Dainty Turn Back Cuffs, embroidered or made of 
bits of lace give any garment a refined air. 

Ornaments for Sleeves. Much may be said of sleeve 
ornamentation. Some fashions demand much elabora- 
tion for the finished sleeve, while others demand the sleeve 
severely plain but elegantly made. Many sleeves of thin 
materials are elaborately trimmed with lace insertions 
and medallions, arranged in an artistic fashion. Solid 
tucked sleeves or those tucked in groups are always good 
style. Sleeves are very attractive when made of tiny 
ruffles, that slightly overlap. These ruffles of course 
must be sewn to a foundation sleeve, the size depending 
on the style of the moment. The entire sleeve may be 
composed of shaped designs, they in turn ornamented with 
buttons or straps. Massive tucks make a pretty sleeve 
for a slender arm. Avoid many frills and circular trim- 
mings on the short, stout arm. Embroidery or braiding 
designs are always good looking on any sleeve. 

ADVICE TO THE LEARNER. 

We call attention to the necessity of becoming famil- 
iar with every kind of sleeve, worn at the time this lesson 
is learned. They should be so thoroughly understood 

42 



- 



am Edith Marie Carens 



that there should not be a moment's hesitancy in deciding 
the style of sleeve that will correspond with the rest of 
the garment. So important is the sleeve, that many 
modistes design the sleeves first and then build their 
waist to meet it. There must be constant practice in 
the designing, cutting, fitting and finishing of sleeves. 
Take different sets of measures and practice altering pat- 
terns to correspond. Make up three sets of sleeves, 
using the model given in this lesson, and make it corres- 
pond with three models of your own figures. Cut, fit 
and finish these sleeves, the first to be a short fancy sleeve 
for a lingerie blouse, the second a long tight sleeve to be 
worn with a Princess frock, the third a three-quarter 
sleeve to be worn with a black afternoon gown. Use bits 
of bright linings, old trimmings or old materials you may 
have about the house, for these experiments, if you lack 
confidence to work on new material. And too it is not 
always a question of confidence, for the beginner should 
never cut into good materials until she thoroughly under- 
stands the work before her. In experimenting on these 
sleeves, be sure to finish them, cuffs and all complete. 

If you understand the principles in this lesson, you 
should be able to make any sleeve to be worn with any 
waist. Practice Sleeve Making — you cannot become too 
expert. Rip apart the three sleeves you have made and 
put them together again, noting all the while v/herein 
you may improve your previous work. Note carefully 
the fit and hang of your sleeves. Fit them to different 
arms and take alterations wherever necessary. You 
can't put too much time in on sleeves — they are the 
vital point of any garment. 

FIVE RULES TO REMEMBER: 

1 . In cutting cloth of any kind and it frays much, over- 
cast before working with it. 

2. Use coarse silk for ornamental stitching — the 
effect is better. 

3. Never make a full, fluffy sleeve for a short, stout 
1 arm. 

4. Sponge all cloth goods before making up. 

5. Use cool iron to press silk — too much heat will 
cause silk to cut. 

43 



Dressmaking Self Taught| 

QUESTIONS FOR REVIEW. 

1 . Name the seven measures necessary for the draft- 
ing of a sleeve. 

2. Tell how you would shorten a pattern that mea- 
sures 20 in. from armsize to hand that it will fit an arm 
that measures 18 in. from armsize to hand. 

3. Describe three kinds of cuffs. 

4. How would you baste a sleeved 

5. How would you fit a pattern that measures 13 
in. around upper arm on an arm that measures 15 in. 
around upper arm? 

6. Describe fully how you would fit a sleeve. 

7. What kind of a sleeve would you use for an evening 
gown? 

8. What kind of sleeve would you design for a boat- 
ing frock? 

9. Describe three different ways of trimming sleeves. 

10. Tell fully how to make a sleeve form and why 
it is essential in the making of sleeves. 



44 



adam Edith Marie Carens 



31 




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Jk 33 ^i 




PIPINGS 



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RUFFLING 



BIAS FOLD 



25 



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SHIRRING 




CORDING- TRIMMING- 



27 



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29 



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40 



45 



SKAJPED DESIGNS 
BUTTONHOLED TO 

L^^QAKMENT 

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DESIGNS OF 

BROADCLOTH 



Dressmaking Self Taught 



lesson v. 



Outfit yourself with a plain, two gore skirt pattern 
as near your waist and hip size as possible. After your 
measures, or the lady's, for whom the gored skirt is being 
made have been taken, compare them with the measures 
of your pattern and alter your pattern so that it will 
exactly correspond with your measures taken. 

When you have your pattern properly altered, you 
are ready to cut your skirt. Fold material on double 
lengthwise fold and lay the straight side of the front gore 
of your pattern to the fold of your material ; pin securely. 
Do the same thing with the back gore. Now cut care- 
fully and you are ready to pin and baste. 

Full directions have been given in Lesson 2 on the 
buying and sponging of material, altering patterns, cut- 
ting, fitting and finishing of the Five Gore Skirt. These 
directions apply in general to the making of any kind 
of skirt, therefore it is quite unnecessary to repeat them 
here. But it is most essential that we follow some special 
details in the making of each of the several kinds of 
skirts given in these lessons. 

The Two Piece Skirt may be closed on the left side, 
and have a seam on the right; or it may be closed directly 
down the center, front or back, and have the sides left 
plain. This all depends upon the style of skirt you wish. 
The placket of these skirts may be either long or short 
or the skirt may be closed all the way down with large 
buttons and buttonholes. Such a skirt as this is usually 
finished up quite plainly, the effect desired is strictly tailored 
and to attempt any trimming outside of buttons would 
tend to destroy those tailored lines. The front gore may 
lap over the back with a wide tuck that is stitched % in. 
from edge. A straight narrow belt may be stitched to 
the skirt; or if the high waist line is fashionable when 
this lesson is learned, then make your skirt high waist if 
you prefer that style and it is in keeping with your figure. 
The short, stout woman should never cater to this fashion 
if she does not want to accentuate her abbreviated con- 

46 



Madam Edith Marie Carens 

dition. To effect the high waist style, cut your skirt 
about 2 in. higher than the normal waist line. Curve 
skirt slightly at waist. 

For those desiring to cut skirts from actual measure- 
ments we will give you full directions and you can cut 
your own patterns. The same measurements are taken 
for every skirt and when once you have grasped the prin- 
ciple involved in the skirt drafting, you will have no 
trouble to cut a well fitting garment. 

For a Two Gore Skirt one-half the hip measure is 
divided by two; so is the waist measure. Drop for a 2 
in. curve at top on both gores. The width of the back 
gore is about 4 inches wider than the front. If the skirt 
is to be 2 yards around the bottom then one-half of this 
is 1 yard or 36 in. If the back is to be 4 in. wider than the 
front then we will make the front gore at the bottom 18 
in. and the back 22 in. If it is the fashion for wide skirts, 
then these figures must be increased accordingly. 

See Figure 43 for 38 hip, 24 waist, 38 length front, 
39J/2 length side, 393^ length back. This is the average 
skirt and these figures will be used for all skirts in these 
lessons. 

The length of a skirt for the average person is 1 3^2 
in. longer on side and back than front, therefore in cutting 
you must measure down from waist to hem from center 
front to back and mark the length of your skirt — each 
measure you will notice gets a little longer until it reaches 
directly over the hips, then it remains the same across 
the back, as is the hip length. 

In cutting any skirt be sure to allow for the desired 
width of hem, also allow J^ in. for seam at top and bottom 
and 3^ in. on each gore for seams, unless there is a wide 
overlapping seam desired, then allow the amount on each 
seam that is desired for the overlap. 

The Three Gore Skirt is cut on the same principle, 
only the proportions are different, as there are three pieces 
in the garment. Drop front gore at top 1 in. for curve, 
the back gore 2 in. One-half the hip measure is divided 
to make the three gores. This style of skirt usually has 
a wide panel in front and the other two gores join with a 
seam directly down the center back. The panel for the 

47 



Dressmaking Self Taught 

front should be cut the width that is the proper proportion 
for skirts at the time this lesson is learned. Styles change 
so rapidly that it is almost impossible to give any set 
rules to follow in the cutting of such garments, but when 
you have once learned the principles for the cutting of 
certain garments it is an easy matter to adjust them to 
fit the mode of the moment. The gores are sloped in 
from the hip line, 6 in. below the waist line, to the waist 
until we have the waist size. Great care should be taken 
here to have the lines correct. Be sure to not have then 
drag toward the back. These lines should be one straight 
line from waist, through hip to hem. See Figure 44. 

Drafting of Four Gore Skirt. This skirt consists of 
four pieces, panel front and back and one gore on each 
side. Drop front gore 1 in. at waist, side gore 1^2 m -> 
and back 3^2 m - 

To get the proportions of such a skirt, you take one- 
half the hip measure and divide it according to the several 
pieces. The panel for front is marked off the width 
determined by the prevailing fashion; so is the width of 
back gore determined. The balance of the one-half hip 
measure is given to the side gore. The waist size is gotten 
in the same manner as in the other skirts, so is the bottom. 
The back panel should always be narrower at hips than 
the front and wider at bottom than front. If a Four Gore 
Skirt is to be 2 yards around or 36 in. for the one-half 
then we will make it 8 in. front at hem, 16 in. for side 
at hem, and 12 in. for back at hem. See Figure 45. 

Drafting of Nine Gore Skirt. There are six side 
gores, one front gore and two back gores, or three gores 
on each side and one back gore en each side with seam 
down center back. Drop each gore J^ in. at top. The 
width of the front gore at hips is determined on, the back 
gores are a little narrower at hips and the balance of the 
one-half of hip measure is divided equally among the 
three side gores. The first side gore at bottom can be 
narrower than the other two. See Figure 46. 

Drafting of the Fifteen Gore Skirt. Drop each gore 
l± in. at top. This skirt has six side pieces cut double 
for the two sides, has a front gore and a back gore. The 
width of front gore is determined on, the back is made 
slightly smaller and the remainder of the one-half the skirt 

4S 



Madam Edith Marie Carens 

measure is divided equally among the six remaining gores. 
They are all the same size, and the ones over hips and back 
are 1 3^ in. longer than front. You see each gore is 34 m * 
shorter in front at top than on sides at top; if they were 
J/2 in. shorter it would give too much curve to the skirt 
at top and the skirt would not hang well. The greater 
number of gores, the less the curve at top. See Fig. 47. 

The Five Gore Skirt is a very popular model, as it 
is suitable for both outside skirts and for slips. This 
skirt has a front gore, one side gore, cut double, and back 
gore cut double. The width of front gore is determined 
on, and the back gore is made a little narrower than the 
front, the remainder of one-half the front gore is given to 
the side gore. You must thoroughly understand that the 
width of front and back gores depend entirely upon the 
fashion of the moment, and there are no set rules as to 
width of hem. Supposing the hip measures 38 in. One 
half of this is 19 — we always use one-half the hip mea- 
sure because we are cutting only one-half of the skirt 
pattern. The style at the time these lessons are arranged 
calls for a wide front, in fact what few gores there are in 
skirts, are wide. Then we will make the front gore 5 in., 
the back 4 3/2 in., as it is always narrower than the front. 
You have used 5 in. for the front, 4J^ in. for the back and 
you then have 93^ in. taken up in these two gores; then 
19 in. less 93^ in. leaves 9J^ in., for the width of the side 
gore at the hip. The waist measure we will suppose is 
24 in. The front gore will run about 4 in. at waist, the 
back 33^2 m -> leaving 4J^ in. for the side gore at waist. 
Supposing the bottom is 2 yards around, then 36 in. is 
one-half of this. The front gore we will make 8 in. at 
bottom portion, the back 10 in. at lower portion and the 
side gore will then be 18 in. You must remember that 
each gore is dropped 1 in. in the cutting at waist to give 
the required curve at top. 

The Eight Gore Skirt is the same thing as the nine 
gore skirt except there is no seam down center back; the 
material is folded on double and cut same as front gore, 
only it is a little narrower at hip. 

All pattern measurements should be tested thor- 
oughly before you attempt to put the scissors to your 
material. Always be sure you have allowed for the J^ 

49 



Dressmaking Self Taught 

in. seam at top and bottom, the amount necessary for 
a hem, and the seam allowance on each gore. Be very 
sure that the pattern is properly pinned to the cloth, and 
that the sizes of each gore taken together will measure 
the amount required either around hips, waist, or bottom 
of skirt. 

ADVICE TO THE LEARNER. 

If learning dressmaking consisted only of mastering 
the cutting of patterns accurately, it would be a com- 
paratively easy task to learn the art. Each preceding 
lesson has given you an idea of the measurements neces- 
sary for the cutting of patterns, also how to cut these 
patterns that they will properly fit the person for whom 
you are making these garments. But there is much more 
to learn — you merely have been given the rudiments of 
plain and simple things which will eventually lead you 
on to the more complicated affairs of a woman's ward- 
robe. 

Beginners in dressmaking are apt to make large 
stitches in sewing and their work will look mussy and 
unfinished. Endeavor to always make your stitches of 
even length and measure the width of all seams. If you 
have made one side of a garment or a design, then lay 
the other upon the finished side that the two may be 
exactly alike — for nothing so destroys the appearance 
of a garment as to have it uneven or out of proportion. 
If trimmings are applied be very careful that they are 
even in every particular, that they are applied artist- 
ically and that they are securely fastened. Buttons or 
ornaments applied should be of even distance apart and 
made secure to the garment. All hooks and eyes and 
bones must be well put on. It's these little details that 
go to make the well finished garment. Exercise patience 
in sewing. If a seam has been wrongly stitched or any 
mistake whatever has been made, be not afraid to rip 
it out, and do it again until the work is properly done. 
Learners are apt to get impatient in a desire to "get on," 
that they may make high-class gowns. Speed is not the 
beginner's test as to her progress; principles must be 
learned first; material must be obtained before the house 
can be built. 

50 



Madam Edith Marie Carens 

Carefully correct all your finished work if you have 
no teacher according to your own ideas. Criticize your 
own work, for in so doing the principles are more securely 
impressed upon your mind. 

FIVE RULES TO REMEMBER. 

1 . Stitching Seams. If you have your seams stitched 
on the outside, leave one seam open until all your other 
seams are finished. 

2. Short walking skirts should be even distance 
around from the floor — the distance depending upon the 
fashion and upon the taste of the wearer. 

3. When making a ribbon belt put feather bone in 
the front, sides and back of it. 

4. Open and press waist seams; if cloth dampen, if 
silk do not. 

5. Yokes should always be fastened either in the 
back or on shoulder, never in front. 

QUESTIONS. 

1 . Draw a diagram of a two-piece skirt and illustrate 
how you would go about to draft a pattern that will 
exactly fit yourself. 

2. How many side gores in the nine gore skirt? 

3. Why do you consider it important to test measures 
before cutting out your cloth? 

4. What is the difference between the eight and nine 
gore skirt? 

5. From what you have learned in this lesson, cut 
and make a model of a fifteen gore skirt, stitching and 
finishing hem and placket as it should be finished. 

6. What is the difference between the nine and eight 
gore skirt? 



51 



Dressmaking Self Taught 



LESSON VI. 



Waists may have tucks of various size, from the tiny 
pin tucks to the size of two inches. All material should 
be tucked before it is cut, except in cases where a tuck is 
continued through a seam like a Gibson tuck on a shoulder, 
and in that case the size of your tuck should be pinned in, 
the shoulder stitched and then your tuck is ready to 
stitch. All modern machines have a tucker attachment, 
therefore making the tucking process very simple, as 
tucks of any size may be made with them and they are 
far more accurate than the eye can make them. 

In using tucks, they should be close together to 
give the desired effect. Plaits are practically the same 
as tucks, only they are used in more different ways. 
There's the plain tuck or side plait, the box plait, the 
inverted plait, the double box plait, etc. 

The plain tuck or side plait is made by taking up 
twice the amount of goods as the plait is wide. The box 
plait is made by taking up twice the amount of goods as 
the plait is wide and after the plait is stitched, baste outer 
edge of plait on to the row of stitching and press into 
position. 

The inverted plait is made by simply turning a side 
plait underneath. 

The double box plait is made by adding another plait 
each side of the single box plait. 

Triple box plait is made by adding two more plaits 
each side of the box plait, these may be even with the 
edge of the outside plait or may extend a little outside 
the box plait. 

Frills, as the term generally implies, signifies rufHes, 
or anything about a garment that is fluffy or fussy. 
Ruffles are made by using either the straight or the bias of 
your material, cut in the desired width and hemmed on 
both sides, and a row of shirring put in on the plain or 
turned away edge at top. Another kind of frill is made 
by cutting narrow bias strips, hemming on both sides and 

52 



Madam Edith Marie Carens 

shirring down the center. Still another style may be 
made by using the material on the bias, doubling it and 
shirring the one edge, or down the center. 

Insertions. Lace or embroidery is inserted in material 
on which it is to be used as trimming. It is first pinned 
on in the design desired, then basted in place and stitched 
on either side by machine, or it may be run on by hand. 
The material under the insertion is then cut down the 
center and turned back on a line with the stitching and 
basted there. A second row of stitching should be made 
as nearly on the first as possible; this makes the work 
firm. The edge of the material should then be cut away 
3^ in. from the stitching. But if you desire to do real 
dainty work it is advisable to turn the material back into 
a tiny hem and catch it down to the row of stitching All 
corners should be trimmed down and sewn flat — button- 
holing secures these raw edges. 

SHAPED DESIGNS. 

A whole garment may be constructed of shaped de- 
signs, artistically arranged. To do this, first draw your 
design on paper, lay your material on this and either pin 
mark it through or trace it on your cloth. Each piece 
is thus gone over, and when you have all the separate 
parts together on the paper, baste, stitch and tear away 
the paper. 

You then have your garment ready to baste up. 
In such work, great care should be exercised to bring out 
good lines, and not to accentuate breadth if length is 
desired, and vice versa. 

Fancy Waists are many and varied. They may be 
elaborately trimmed with insertion, tucking and applied 
trimmings in the form of fancy braids, bits of elegant 
lace, a touch of velvet, here and there a spray of em- 
broidery, or perhaps herringbone work. Any of this work 
if properly applied will go to the making of a fancy waist. 

If a tailor finish is desired, your work should bear 
the most minute inspection — every line should be in 
the right proportion, every stitch on the machine should 
be perfect and every seam should be of an even width. 

Many ladies prefer to effect the tailor finish in all 
their garments — and on most people it really looks well 

53 



Dressmaking Self Taught 

— while on some a tailored effect makes them appear 
stiff and a awkward. But on any and most all occasions 
the tailor-made girl or woman may consider herself well 
dressed and in the best of taste. 

To copy styles from the fashion books is easily 
acquired with a little practice. Outfit yourself with two 
or three first-class fashion books and spend one hour each 
day for two weeks, copying designs on paper from the 
illustrations. After you have acquired a fairly good 
knowledge of this, then put what you have learned into 
execution by using material and making different gar- 
ments, or parts of garments, exactly like copy of the 
picture in the fashion book. 

After you have spent many hours in the study of 
these illustrations, you will find yourself trying to add 
to or take from these pictures, and gradually you will 
find yourself master of a whole lot of originality in de- 
signing — and that is what makes the modiste valuable 
to her customers and gives her power to command first 
class wage for her labors. 

To secure a professional look to a finished garment, 
great care must be exercised from the very beginning of 
your work — do not slight it in the least instance. In 
handling your work, handle it as if it were something 
precious and rare and not as if you were using a dust 
cloth; each little wrinkle or fold that is carelessly pressed 
into new material takes away that freshness so much 
desired. Ripping should be avoided as much as possible, 
especially machine stitching, as it not only mars the 
goods but actually wears it out. Avoid the use of pins 
as much as possible on delicate materials as they are bound 
to leave marks. On very dainty fabrics it is advisable 
to use steel needles instead of pins. In applying trim- 
mings fasten securely but do not give your work a pasted 
down appearance. 

In the cutting of waists, collars, cuffs, skirts, etc., 
always be certain that your measures have been accurately 
taken, also that the measures by which you are cutting these 
articles are the actual ones taken for them as you are 
often bothered and may have the wrong figures, thus 
ruining valuable material and wasting still more valuable 
time. Always allow for all seams in cutting and cut lines 
true and accurate. 

54 



Madam Edith Marie Carens 



ADVICE TO THE LEARNER. 

After we have progressed so far with this interesting 
study, we grow more and more anxious each day to ac- 
complish much. Up to the present time not much stress 
has been put upon the ability to be able to do much in 
a short space of time. The Author of this valuable in- 
struction book has been anxious that you learn the little 
details of the work, and to do this much, haste must be 
avoided. But you have reached a point now where you 
can begin to exercise speed with what you do. If you 
are going at this work for pleasure you do not want to 
spend all your waking hours at it, so learn to hasten a 
bit and you will have much time for other amusements; 
if you are learning dressmaking as a profession then 
there's still more reason to be rapid, for your time is 
money, and every hour spent means so many dollars more to 
you, therefore endeavor to crowd in as much neat, well 
finished work in every hour as is possible to do. 

By doing some things over and over again we acquire 
speed, therefore practice; practice sewing until you can 
do your work accurately and with much rapidity. 

There has been nothing particularly difficult in this 
lesson. What it requires more than anything else is the 
exercise of a little patience and perseverance, and a rea- 
sonable amount of practice. There is no mental work 
— no real study about it — for as it is well known, "we 
learn to do a thing in the doing of it." 

FIVE RULES TO REMEMBER. 

1. Always keep the waist line clearly marked in the 
waist as, in measuring up a waist in the end this is the 
most important. 

2. Be sure, that your corsets are a good shape and that 
they fit well, as it's impossible to build a stylish garment 
over an ill-fitting corset. 

3. The soft collars that are so popular these days 
are made up without any lining, just a piece of feather- 
bone in the back and sides. 

4. Fasten plackets, fronts and cuffs, of woolen or 
silk garments with clasps, as they are better than hooks 
and eyes. 

do 



Dressmaking Self Taught 

5. In tucking be sure that your tucker is working all 
right, as nothing looks so bad as uneven tucking. Take 
pains and do not try to go too fast. Tucks now can be 
any width. 

QUESTIONS. 

1 . Describe in full how you would give the waist the 
professional look. 

2. Explain what you mean by shaped designs in a 
garment and design one on paper. 

3. Tell how you may become a designer of original 
styles. 

4. Which is to be preferred, the tailored or fancy 
finish in garments, and why do you think tailored gar- 
ments are to be preferred to those more elaborate. 

5. Name three kinds of plaits and describe fully. 

6. Tell what you know about insertions. Name the 
five rules in this lesson and tell why they are important. 



56 



Madam Edith Marie Carens 



LESSON VII. 



The drafting of a plaited skirt calls into play not a 
little planning, ingenuity and skill. To have the plaits 
in their proper position, to see that they are the correct 
distance apart and when stitched to watch that they do 
not skew, demands figuring and forethought. But when 
the plaits are correctly placed, properly stitched and 
pressed, no other skirt is half so dainty or feminine in 
its appearance; no other skirt is more graceful or will give 
its wearer more solid comfort. 

The side plaited skirt is much more to be preferred 
than any other; these plaits may turn towards the front 
or back, just as fashion demands. There are two ways 
by which you can make a solid plaited skirt: (1) by taking 
a straight piece of material that is long enough for a skirt 
length including a hem; hem the skirt, then baste in 
your plaits — 2^ in. deep is about the depth desired; baste 
them in so as the edge of each tuck will be 1 in. apart. 
When the material that was allowed for this skirt is all 
basted — or when you have tucked enough material to 
make the hip size, then pin it into shape on to the person 
for whom the skirt is being made. Each tuck should lap 
at waist line so that the skirt will fit into the waist. When 
skirt is all pinned, baste and stitch down to below the 
hips. This fitting must be done quite loose or your skirt 
will be entirely too tight when once it is stitched. See 
Fig. 48. (2) Solid Plaited Skirts may be made by first 
laying a plait in each side of front gore which is cut very 
narrow. This plait laps over the second gore that has a 
plait laid in on farthest side; this gore in turn laps over 
the second side gore, etc., on down the list until you have 
filled in the hip measure. If these plaits are to turn to- 
wards the front, they will be basted in on the straight side 
of each gore, but if to be turned toward the back, they 
must be basted in on the bias side of your gores. The 
tucks should be about 2 in. deep and each gore should be 
about 3 in. wider at bottom than at hip, all depending on 
width of skirt at bottom. The edge of tuck should be 1 

57 



P i v- s s u\ a k i n >* Sell Tan y> li t 

ipait at hips Any oi these tucks may be stitched tO 

knee depth 01 1 1\<-\ nuiv only be stitched to just below 
the hip all depending on what the fashion demands* 

It tucks 01 plaits are desired between the gores in • 

ed skirt, it is best to tuck your material, then lay on 

this tucked material i plain gored skirt pattern; and with 

the fullness die tucl to the gores, held in place, the 

gores are cut. 

In die pattern On the e.orcs to he cut. care 

>uld be exercised not to cut into laid in tucks or cut 

in w ullness is intended, Be sure to allow for all 

ms and in case ol overlapping tucks, be very careful 

Hon s&tra on gore that comes underneath or you will 

tiave youi skirt too tight. Be sure you have the straight 

ol youi pattern to the straight oi your cloth. In tucking 

res one intended for one side and the 

>te carefully that two rights or two 

wrongs con fcher when the one gore is laid on the 

I U have both pieces tor the one side of the 
I'.ul down and right and wrong of 

al. 

. rt \ okes When this I written, skirt yokes 

Mr, but every season -hey are 

and it is best to know 

> the case i many ether styles 

i m this course e: lessons; whi s not 

! the season is over. 

yokes may be 
etc le cu . Hilar 

J on a (engt eld. and cut 

I tit the slope dfl 

until i Such s yoke could not extend 

s making the skirt too full at 

\ \ Q k Q I • 1 J be t h e u ppe r B r ed 1 1 

dus yoke mtg 

-::it the particu'. It may ■ 

QU t with 

ith a tuck. 
\ j oke msq be cut in m es 

and : The . 

yoki n the ss is of sk 

Sk Mr, shirred, plaited, ac- 

box etc. 






Madam Edith Marie Carens 

The circular flounce has a quarter circle cut that exactly 
measures the distance around skirt where flounce joins the 
skirt. The material should be laid on a double lengthwise 
fold for the center front. 

A shirred flounce is made by using a straight piece 
of the material 1 x /i times larger around than the skirt 
where it is attached. One, two or three rows of shirring 
may be used. 

A plaited flounce may be either side, box or accordeon 
plaited. The side plaited flounce may have large or small 
plaits and thay may turn to front or back. The box 
plaited flounce is made by using a straight piece of material 
and box plaiting. The accordeon plaited flounce is made 
by machinery designed for that purpose. Hem your 
material after it is cut, the desired width; but be sure to 
allow three times the length of material as the distance 
around skirt where it is attached is wide. 

ADVICE TO THE LEARNER. 

Again we remind the learner the necessity of being 
accurate, paying the strictest attention to the little details 
of all your work, also to gradually gain speed in your v/ork. 
Learn to cut accurately, baste properly, fit correctly and 
finish neatly and you have mastered much of dressmaking. 
If you lack the patience to do these things, you may safely 
conclude that you will find your vocation in other fields 
than sewing, for these four essentials are the "backbone" 
to dressmaking. Practice the making of the various kinds 
of yokes, flounces and plaited skirts suggested in this les- 
son until you have become thoroughly familiar with all 
of them. It is an excellent practice to notice on other 
ladies different styles of yokes and flounces, then go home 
and experiment making them on paper or out of bits of 
cloth you may have on hand. Do not let any impatience 
or indolence prevent you from giving to every exercise 
the required amount of practice in designing, cutting, 
fitting and finishing. 

FIVE RULES TO REMEMBER. 

1 . Placket. This part of the skirt must be done neatly. 
Put canvas on both sides and fasten with clasps and you 
will have no trouble to keep your skirt closed. 

59 



Dressmaking Self Taug 



.. 



2. Tucked Shirtwaist. First cut off the length for 
the two fronts, then the back. Tuck before cutting out. 

3. In finishing up a waist, that is, facing up the bot- 
toms, always use silk as it looks neater. Always use silk 
to face cuffs, collars, etc. 4 

4. Always press sleeves on a sleeve board if you have 
one, if you have not then make a roll out of paper; it will 
answer nearly as well. Be sure to cover the roll with 
cloth or plain paper, as ink on printed paper will come off. 
Slip this roll inside of sleeve and press seams open. 

5. Use the tracing wheel with care on silk, as it 
is likely to cut the fabric or leave a mark. It's better 
to mark with a needle and thread. 

QUESTIONS. 

1. Name and describe the making of three styles of 
yokes. 

2. Should plaits turn towards the front or back? 

3. Describe in full how you would make a straight, 
plaited skirt. 

4. How would you lay the pattern upon a piece of 
material that has been tucked for a gored skirt? 

5. What do you know about flounces? 

6. How far down should plaits be stitched? 

7. Name the five rules in this lesson and tell why you 
think they are important. 

8. Which style of skirt do you think is the most 
graceful, the gored or plaited? 



60 



Madam Edith Marie Carens 



LESSON VIII. 



To cut and fit tight linings for waists is the most 
difficult and the most complicated of all the work con- 
nected with the art of dressmaking, therefore it is most 
essential that we give our every thought and attention 
to this lesson. To make a perfect fitting lining is an art 
within itself. See Figure 49. 

Outfit yourself with a set of plain tight lining pat- 
terns, and cut from them a set of strong cambric patterns; 
baste these up and keep them ready to fit on your cus- 
tomers. Always take the person's measures the same as 
directed in lesson three. Measures for all waists are 
always taken in the same manner. To obtain a perfect 
pattern, use the bust size pattern that is nearest the 
measure taken of the party for whom you are making the 
waist, and alter as directed in lesson three. When your 
pattern is altered, cut a cambric lining and baste; fit this, 
on your customer and if you have followed directions 
carefully there need be no further alterations, but in case 
there are changes to be made, do so wherever necessary 
and you have a perfect model by which to cut your lining. 

This method of obtaining a perfect model is so much 
easier accomplished and so much more satisfactory than 
following a set system. It relieves the operator of many 
heartaches, for in the case where systems are used there 
is so much opportunity to ruin good materials in cutting 
and in the long run makes very expensive labor. 

To bone linings and guarantee them to be a success, 
you should equip your machine with a boning attachment. 
Place the featherbone wrong side up under the machine 
foot, pass the needle through the center of the bone, in 
the center row of stitching allowing one inch to project 
back of the needle for finishing the ends. Draw the bone 
straight towards you, drop the presser foot, then place the 
boning attachment over the bone so as to guide it under 
the needle, securing it in place by tightening the thumb 
screw. Now raise the needle and presser foot and you 
are ready for boning. 

61 



Dressmaking S^elf Taught 

To Bone Darts. Have waist wrong side up on the 
machine. Bone first dart. Lay the open seam on top 
of bone and bone attachment so that bone is right in 
center of seam. Put needle down about ^ in. below top 
of dart close to seam, stitching around the material up 
to needle, lower presser foot and cut, be sure the fulness 
starts right with the first stitch or from the needle, This 
is important, as it prevents the bone from showing at the 
top, or causing a little plait above the top of the dart. 
Continue sewing to within 3^ in. of waist line, and be 
sure to follow machine stitching closely; hold seam firm 
to bottom of short waist. Bone all darts alike. Take 
the extended 3^2 in. on each bone and rip back the casing 
}/2 in., cut off the bone, round the corners, turn casing 
over the bone and fasten. Do not fasten to waist. When 
you have your tight lining fitted perfectly and boned 
you are ready to attach the outside. Put this lining on 
a dress form so that it is held in place and that it will 
make a proper foundation for your draping. We will pre- 
sume this waist is to have a deep yoke, front and back. Put 
pins in lining the depth the yoke is to be. This yoke if 
lined can be much lower than if it is left without lining. 
Have front of yoke deeper than back. Take the material 
intended for a yoke and pin center of piece intended for 
front to front seam of waist. Pin down firmly all around, 
stretching slightly. Do the same thing with the back. If 
waist is to be closed in back then split the piece for back 
yoke down center. The body portion of waist is then 
stretched and pinned into place on the lining. Use plenty 
of pins, and be sure your lines do not drag — the scant 
fulness at waist line must fall into easy, graceful folds. 
When the lining and yoke are pinned securely, lift the 
garment from the form and baste closely before any pins 
can fall fron the work, following the neck, armsize, down 
center front, and at waist line. But before the actual 
basting is done, fit the work on your customer to satisfy 
yourself that all is correct. If your lining is perfect, there 
can be no doubt about the outside. 

Hooks and eyes should be sewn on before the draping 
is done. To get the exact line to turn away lining, mark 
with colored thread in the pin marks, where the waist 
closed when being fitted, pin the two sides together and 
thread mark other side the same as first. Be sure that 

62 



Madam Edith Marie Carens 

both sides are even by pinning every part of waist to- 
gether. In case there is a marked defect in the figure of 
the person, the two sides should be exactly alike. The 
right side should be the hook side. Turn back each edge 
to the underneath and insert a bias piece of canvas and 
stitch 4 in. from edge. Pin the two sides together and 
either mark with chalk, pins or pencil 1 to 1 J^ in. spaces 
on each edge for hooks and eyes. The right side is the 
hook side. Sew then on securely with coarse cotton or 
linen thread — silk is liable to cut. Sew with not less 
than four stitches through each little ring and three or 
four stitches on the bill. The hooks should be set back 
from the edge about }4 in. The eyes should extend out 
from the edge sufficient distance for the hooks to slip into 
them. Sew with four stitches through the little rings 
and each side of the eye. 

Before sewing on hooks and eyes a piece of uncovered 
fatherbone should be slipped into the turned back portion 
of the edge of waist and stitched. Use a bias piece of silk 
or lining and face both the hook and eye side of waist; do 
this all by hand. 

Seams on a nice lining should be bound with seam 
binding, a kind of soft ribbon that comes prepared es- 
pecially for this purpose. When binding seams, be very 
careful to not hold the ribbon too tight, as it may tighten 
your seams. Overcasting is quite satisfactory in the 
finishing of lining seams but it does not give the garment 
that finished look that bound seams do. The bottom 
of the separate waist, if intended to be worn on the outside 
should be faced with a 2 in. facing of taffeta the shade of 
the waist. This work should all be done by hand. 

The trimmings on all waists should be arranged in 
a very artistic manner, bringing forth all the good points 
of a woman's figure and concealing the bad ones. No 
trimming should be of an inferior grade — far better no 
trimming at all, than to mar the garment with cheap, 
gaudy decorations. Then too, it is in far better taste to 
use a mere touch of some expensive lace, beadwork, satin 
or velvet than to use much of this same material as the 
garment is likely to appear overdone. Fancy hand-made 
trimming seems to give the finished garment a rich at- 
tractive appearance. Pale pink chiffon roses on a pale blue 
chiffon gown gives a smart effect. The roses are made 

63 



Dressmaking Self Taught 

from strips of chiffon 4 in. wide, folded double; the petals 
are cut from this strip about 2}/% by 2 in. ; the folded edge 
is turned over to form a triangle, with folded edges run- 
ning from the point to the base. The raw edge is gathered 
into a half in. space. About five of these petals placed 
in artistic positions will make a rose. The center may be 
either hidden or crossed with yellow twist. These roses 
are joined by a vine of pale green chiffon, to which leaves 
of the pale green chiffon are added. A wreath of these may 
be applied to a low neck blouse and to short sleeves. 

Another very pretty blouse is made by using large 
coin spotted net, either in white or ecru. These spots 
are embroidered in a delicate color. 

Maline folds inside a low neck and short sleeves add 
to any fancy waist. 

Bunches of artificial flowers are much worn, both at 
the waist and throat. 

Spotted lace whose spots are outlined with velvet 
forget-me-nots petals make pretty frills, or even an entire 
blouse. 

A garniture of small roses outlining neck and arms is 
always good looking. 

Duchess or Irish point lace makes elegant trimming 
for evening gowns. 

Hand embroidery is much worn, both for elaborate 
and more severe garments. 

Fringe revived from our grandmother's day is now 
one of the most fashionable of trimmings. 

ADVICE TO THE LEARNER. 

As has already been stated, each lesson presents some 
new principle, some new suggestion for the making of 
fashionable and well-fitting garments. With each lesson 
you are given a broader insight into the mysteries of the 
making of gowns; you are also acquiring more speed, 
becoming more familiar with the workings of cloth into 
beautiful clothes, therefore it becomes obvious that you 
should master every new idea and thought brought forth 
in this lesson. 

The necessity of thoroughly understanding every 
principle presented in each advanced lesson cannot be 
urged too strongly. It is impossible to make satisfactory 

64 



Madam Edith Marie Carens 

progress in the art, without thoroughly understanding the 
principles presented in each lesson. Do not get the im- 
pression that you are smarter than others who have 
learned dressmaking and can master this work by merely 
glancing at each lesson. If you do you will be terribly 
disappointed. You will find that you will have the work 
all to do over again, if you did not learn each new idea sug- 
gested in these lessons. First ask yourself, "What is the 
object of this lesson, and why should I learn it?" It 
teaches you the making of the foundation for all waists; 
if this is not thoroughly understood it is utterly useless 
to attempt to go further in the making of clothes. There- 
fore, say to yourself, "I will begin with this very lesson 
and not leave it until every principle is thoroughly under- 
stood — until I am as familiar with it as with my ABC's; 
then your success is assured, then, and not until then. 

FIVE RULES TO REMEMBER. 

1. Waist seams must be nicked at the waist line so 
as to give the spring on the hips. 

2. Do all your draping for waists on a bust form. 

3. Cut linings for waists crosswise of goods, to keep 
them from losing their shape. 

4. In basting seams, be very careful to baste on even 
distance from edge and have line absolutely straight; 
stitch a shade on the outside of basting line. 

5. Have an attachment to your machine for putting 
in featherbone. 

QUESTIONS. 

1 . Describe in every particular the making of a tight 
fitted lining. 

2. Tell of two different styles of trimmings for fancy 
waists. 

3. How would you sew on hooks and eyes properly? 

4. Why do you use a bust form for the draping of 
waists? 

5. What do you understand is meant by the draping 
of waists? 

65 



Dressmaking Self Taught 

6. Why is the basting of lining and outside waist 
important? 

7. Describe in detail how to use a featherbone at- 
tachment. 

8. How would you finish off bones? 

9. Why do you consider this lesson important? 

10. How would you finish the seams of a silk lining? 



66 



Madam Edith Marie Carens 



LESSON IX. 



The one piece frock is the popular model of the 
moment — and well does it deserve its popularity, for 
no fashion has ever been quite so serviceable as this little 
one piece affair that we can slip readily into and with the 
closing of a few hooks and eyes or perhaps buttons you 
are attired for home or street. There's not the long tire- 
some siege of fastening collars, adjusting skirt belts or 
perhaps searching for lost collar and cuff buttons. Long 
let live the popularity of the One Piece Frock! 

To join waists and skirts by a girdle, it is first neces- 
sary to have a boned foundation of canvas. This found- 
ation may be cut from a straight piece of canvas that is 
slightly curved on the lower edge. Pinch up three darts 
on each side about 3 in. apart by beginning at nothing at 
top and taking darts to a depth of J^ in. as they reach 
the bottom of belt. Sew bones on darts. If you desire 
the girdle to fit low on the waist, then begin at nothing 
at bottom of girdle and stitch into ^ in. depth at top. 
Such a girdle must curve down about 1 3^ in. in front to 
give proper shape. When the girdle is properly boned 
and fitted, the skirt is pinned into place to lower portion 
of belt if the skirt is regulation waist height, but if it is 
to be high-waisted then fit skirt to z /i the height of girdle 
and when waist and skirt are securely fastened, a bias 
strip of soft silk or satin is laid about the girdle in grace- 
ful folds, pinned into place and later tacked securely. 

The girdle is a form of belt and may be worn separ- 
ately or attached to a dress or waist. It is used as an 
ornament and of ttimes gives the finishing touch to what 
otherwise would have been a plain garment. The most 
successful girdles are draped on a canvas foundation. 
The covering for the foundations may be silk, satin, 
chiffon, soft ribbons, etc. Always use silk or satin on the 
bias. The canvas is fastened on the person and the 
covering is draped in folds upon it. The edges are turned 
down over the canvas and seam binding is run along 
this for a finish; or the girdle may be faced with a bias 

67 



Dressmaking Self Taught 

facing. The draping is turned under at each end. A 
canvas buckle covered with the material concealed the 
closing of this girdle, or a row of tiny buttons may be used. 
Sometimes you might leave a long end of the silk at the 
right end of belt, and shirr this into a deep or narrow head- 
ing. Fasten with heavy hooks and eyes. This girdle may 
have embroidered rings set back a short distance from 
each end and then laced up with a heavy cord. Most 
girdles fasten in the back. 

A girdle covering of fancy shaped design may be 
stretched upon the canvas foundation in the making of 
a garment that calls for shaped designs on blouse or skirt. 

Girdles may be trimmed with buttons, braid, em- 
broidery or anything carrying out the trimming scheme 
of the garment for which it is intended. 

A stitched tailored girdle is made by stretching the 
material on the unboned canvas and stitching. Leave 
the material extended out over the edges of the canvas, 
sew bones in by hand and turn edges of material down 
over the bones and face with bias facing of silk. 

A ribbon girdle may be made by using a featherbone 
foundation. Cut five pieces of covered featherbone, the 
length depending on the width of the girdle. A girdle 
with a bone 3 in. above the waist line and 1 in. below the 
center front, another bone 1 J^ m - above and J^ in. below 
the waist line at underarm seam, and one 2 in. above and 
% in. below waist line at each side of center back makes a 
good foundation on which to drape ribbon. A piece of 
belt tape is used to form the waist line of this foundation. 
The bones are pinned to the belt tape at the front, sides 
and back and sewn firmly to it with cross stitches of 
buttonhole twist or coarse cotton. Such a girdle may be 
made by shirring the material used as a covering and 
fastening it to the foundation. A shirred heading finishes 
the back. 

A belt is usually understood to be worn separate from 
the garment, but many waists and skirts are joined by stiff 
tailored belts. A skirt with a narrow straight belt at- 
tached is quite satisfactory. These belts may be made of 
the material and worn separately or they may be made of 
cloth, velvet, silk or suede, and buckles procured for 

68 



Madam Edith Marie Carens 

them. Eyelets are then worked in the one end which 
makes them very serviceable. 

Sashes are the decoration for an elaborate frock and 
are usually associated with the garments of children and 
misses, but again and again they are launched forth by 
Dame Fashion so enthusiastically that maid and matron 
alike are wearing them and a pretty style it is too — so 
simple and girlish. These sashes are usually constructed 
of wide ribbon, shirred or folded into place on a feather- 
bone foundation, or fastened directly upon the garment. 
They may be made of wide bands of soft silk and caught 
at ends with fancy ornaments, or left flat, and fancy ball 
trimmings or fringe used to finish the ends. It is not 
necessary that there be any form of belt or girdle in the 
joining of waists and skirts; in fact, the present mode has 
a stronger tendency for the beltless garment, but it is 
quite essential that there be some form of stay used inside 
when this style is preferred, as the waist line would stretch 
out of shape. To effect this beltless garment, the top of 
the skirt must be turned down 3^ in., it may have a narrow 
piping, outlining this and waist and all stitched to an inside 
canvas girdle or inside straight belt. The inside canvas 
girdle is used when the skirt is to be high-waisted. 

The two-piece dress may be made any style, but it 
is not at all practical, as there's always that bother 
to adjust skirt bands so as there are no unsightly gaps 
where waist and skirt meet, and too, there is the waist to 
keep in its proper place to avoid its being pulled away 
from the skirt band. When skirt and blouse are once 
joined you avoid all this unnecessary bother. Of 
course in the wearing of the tailored coat suit, there needs 
must be the separate blouse; in this case we are compelled 
to endure the inconvenience. 

The separate waist may be either plain or fancy, all 
depending upon the occasion for which it is to be worn. 
For the strictly tailored suit and for street, the severe 
shirt, or shirt waist is the proper thing. Right here turn 
back to your lesson on shirt waists and study it once more; 
see if you can not learn something from it you failed to 
learn when you were with it before. For house and after- 
noons, the lingerie blouse is very serviceable. This is 
made of sheer lawn or batiste, fine tucked and inset with 
lace and medallions. When you have tucked your ma- 



Dressmaking Self Taught 

terial, lay it on a newspaper pattern of your measure, 
pin securely, and drape your lace according to some par- 
ticular style or after your own original ideas; stitch and 
tear away the paper; your waist is then ready to baste 
and fit. Just such a waist may be made of net, chiffon 
or soft silk. The separate blouse may be made up from 
most any kind of material, but be very sure that it blends 
with the skirt with which it is to be worn — never have a 
waist darker than a skirt as it gives the wearer a most 
awkward appearance. 

We have had continued instruction on the making, 
draping and trimming of waists, but it is not a loss of time 
here to turn back to the various suggestions on the art of 
waist making. Study them again and again. Improve 
upon what is given you here and add new ideas if it is 
possible to do so. 

Space is limited in these lines, but your field is wide 
and you are at liberty to broaden your study of waist 
making to any degree — the greater number of different, 
original garments you can make only shows your ad- 
vancement with your dressmaking lessons. 

ADVICE TO THE LEARNER. 

You must sew well and sew rapidly. Badly sewn 
garments require too much time for ripping and going over 
again. True success in dressmaking comes from familiarity 
with the principles and actual application to the work. 
Upon seeing a woman, we should at once be able to design 
a garment that would be her particular style and suitable 
for her in every detail. The beginner who is really doing 
things, should see at a glance what that style of garment 
should look like when once it is completed and the wearer 
is gowned in it. Never think of mingling with other 
ladies unless you can study the garments they are wearing 
— decide for yourself if they are appropriate for them, 
if properly worn, and if the garments they are wearing 
are in keeping with the occasion. A dinner gown if worn 
on a shopping tour is certainly wrenched from all its 
original beauty and it has lost that smartness which it 
could only portray in some elegant home, framed in dainty 
luxury, and hidden from the coarseness of a criticising 
public. 

70 



Madam Edith Marie Carens 

For one whole year while studying the making of 
dresses think of nothing else important except the building 
of garments. Study and plan for them at all times. If 
you see an ill-fitting garment on a lady, immediately pro- 
ceed to figure out where you could have done that work 
differently and materially improved that misshapen piece 
of feminine finery. 

FIVE RULES TO REMEMBER. 

1 . Shields. Get good ones and sew them in towards 
the front, not straight down, and put the needle only 
through the binding. Tack under the arm firmly. 

2. Bias ruffles should be cut on the true bias or else 
they are hard to hem and do not set well. 

3. The seams of a skirt should be nicked in various 
places, especially where there is a curve. Do this before 
pressing and finish off by overcasting or binding. 

4. Width of canvas for finishing of bottom of waist 
should be about \}/2 m - wide, cut on the bias. 

5. A neat fastening is difficult to make on a lace yoke. 
Face it back with a piece of itself and use very small hooks 
and use thread loops. 

QUESTIONS. 

1. Describe the making of three kinds of girdles. 

2. What do you think of the one piece frock? 

3. How would you make a tailored belt from cloth or 
velvet? 

4. What relation has a belt or girdle to a waist or 
dress? 

5. What do you know about sashes? 

6. Describe fully what manner is used here to join 
waists and skirts without belts or girdles. 

7. Describe in detail an outfit for a lady for the street 
on a shopping tour. 

8. Describe in detail a lace gown, and tell why you 
think it should not be worn on a shopping expedition. 

9. Tell of a method by which you can broaden your 
views on the subject of dressmaking. 



71 



D 



r e s s m 



Taught 



NO. 4] 

< hi, plain ftVEOORE 
SKIRT sijovviN(. ONE 
HALF <>i THESKlftT 
BASTED Ul> 




NO.43 
TWO PIECE SKIRT 



72 






Madam E d i I li M a r i e ( - a r c n s 



lesson x. 



The Princess dress, like the tighl fitted lining, ii a 
difficult subject but when ii is thoroughly understood 
nothing is more artistic nor displays more real skill in th<* 

making. lit yourself with a plain light fitting princess 
pattern as near your own measures as possible, or ol the 
person for whom the garment is being made. Alter ac- 
cording to rules already given lor tight (it tine, linings, 
that it will correspond with measures taken. I hen cut 
a lining from muslin or cambric, haste up and (it. If 
there are any more alterations t<> be taken, take them, 
and then rip apart the lining and lay on your (loth (or 
your princess. Pin securely, cut accurately, and basic 
still more carefully; fit again and you will find that your 
garment is absolutely perfect. Stitch a shade on the out 
side of your bastings, pick bastings and press. If the 
princess is only a foundation lining the bones can be in- 
serted the same as for a tighl fitting waist, only they 

exUnd (art her below the waist line. Hut i( this princess 
is t0 be finished up as an outside garment, then insert 

all bones by hand, as care must be exercised nol to have 

stitches show on the outside. A princ < ss should not be 
fit tOO snugly. Finish the closing In the same manner as 
for a tight lining using a narrow strip ol the matt rial 

under the eye side for a fly. The plain tight fitting 

princess should be fitted up with a pair oi long tight fitting 
sleeves no short (ussy sleeves nor low cut neek can be 
tolerated on the tailored princess (rock. Such a garment 
may have, heavy mot iff s or insertions or fancy braid or 
button trimmings this all being left to the taste ol the 
wearer To make an elaborate prmeess there may be 
dainty hand run tucks, bits oi hand embroidery, or per 
haps some; set in bits of trimming that arc herringboned 
to the. garment proper. 

The princess may be either tight, fit tin un- 

fitting as fashion demands. The cut ting ol the semi fit ting 

princess is done after the same manner as the tight nttingi 

only it floes not fit so closely at waist. The. semi -fitting 

princess is usually cul on tailored lines and the garment 

admits of little trimming and fuss work. 

n 



Dressmaking Self Taught 

Either style of garment is usually built up with a 
panel both back and front. This panel may be perfectly 
straight and plain or it may be cut in designs, strapped, 
braided or embroidered. To braid a panel for a princess, 
first have it stamped, then sew by hand with small back 
stitches, the braid, following carefully the line of stamping. 

The princess may extend about two-thirds the dis- 
tance of the skirt and have the lower portion of the gar- 
ment cut away and in its stead have a straight plaited 
flounce, the joining of which to the skirt is concealed with 
a wide tuck on skirt portion or perhaps a row of braid or 
bias band of the material. 

All seams should be nicked and bound as carefully 
as in a tight fitting lining. Or if the garment is an outside 
frock, the seams may be finished as lap seams, French 
seams, tuck seams or welt seams. If the garment is to 
be tubbed, do not bone it. 

The plain tight fitting princess may be used as a 
lining foundation on which to drape an outside garment. 
It is really one of the most satisfactory methods of lining 
a garment that is to be draped, as it is a perfect fitting 
foundation and the finished garment cannot help being a 
success if Jhandled carefully. 

It has often been a question, who should wear the 
princess? Tastes will vary in this respect, but the safest 
basis is a good figure, be the subject tall or short. A per- 
fect figure is most essential for real success with the tight 
fitting princess, as it displays every defect of the form. 
The short stout woman can safely gown herself in such a 
garment providing she has good lines and carries herself 
well. The princess accentuates height, therefore it rightly 
belongs to the woman who needs must make herself appear 
taller. The tall woman can safely depend on the princess 
providing she is not too thin. The small or medium sized 
person with no hips or bust should ever shun the tight 
fitting garment, as it only exaggerates her thinness and 
makes more prominent her bones and hollows. 

ADVICE TO THE LEARNER. 

The utmost familiarity with this lesson is necessary 
that the learner will not hesitate when she is called upon 
to build a princess either for lining purposes or an outside 

74 



Madam Edith Marie Carens 

garment. She must not hesitate a single moment to 
decide whether such a garment is suitable for the woman 
in question, for while the garment may be made to fit her 
figure perfectly, the woman's figure may not have been 
made to fit a princess. 

The learner who shirks the labor necessary to thor- 
oughly master every rule and principle in each lesson and 
apply the same in her work, may safely conclude that she 
has not the necessary qualifications to succeed in dress- 
making or any other profession where close application 
and faithful study are necessary to success. 

FIVE RULES TO REMEMBER. 

1. If material has a figure or flower design you 
must be very careful and watch in your cutting out and 
see that the pattern is all running the same way and that 
it matches. 

2. Sometimes skirts that stand out around the feet 
are stylish. If you wish a skirt so, use skirt featherbone 
in bottom of hem of lining. 

3. All waists drape prettier if they fasten in the back; 
avoid fastening elsewhere if possible. 

4. In removing a waist from the form, handle with 
utmost care so that the pins will not drop out. Baste at 
once. 

5. To press velvet seams, you must lay the iron down 
on the table and pull seam over the edge of the iron ; never 
set an iron on velvet. 

QUESTIONS. 

1. Who should wear the princess? 

2. Describe fully two methods of trimming the prin- 
cess frock. 

3. What about the boning of the princess? 

4. What about the closing of such a garment? 

5. Name the five rules in this lesson. 

6. Tell in detail how to cut a perfect fitting princess. 

7. What about the sleeves that belong with the prin- 
cess? 

8. How would you finish the seams of this garment? 

9. Why is this lesson important? 

75 



Dressmaking Self Taught 



LESSON XI. 



What can be more dainty and bewitching than our 
summer girl, robed in those airy, fairy things of muslin 
and lace? And it's the refined delicate touch given these 
garments in the making that really makes them what they 
should be. 

Linen has grown into strong popularity; we cannot 
say this has been brought about on the account of its 
practicability, especially in colors, for the best of it will 
surely fade in the water and sun after a brief time, and 
what was once a thing of beauty will be a misshapen, faded 
article of wearing apparel. Linen too has a strong faculty 
for wrinkles, and after one wearing from the laundry, it 
has lost all its freshness. But linen has its redeeming 
qualities — it is beautiful, especially in the delicate colors; 
when freshly ironed it is so clean and crisp in appearance; 
it is cool and always rich and costly looking. No summer 
wardrobe is complete without at least two one piece 
frocks of linen, two separate white linen skirts, two linen 
shirt waists and two linen coat suits — one in a color of 
your own choosing and one of white. 

To make these linen dresses, select a plain skirt pat- 
tern and a plain waist pattern that will nearly fit you; 
alter according to rules already given. Design your 
frocks by sketching them on paper or copy a design from 
a reliable fashion book. When you have decided upon 
your style of garment lay your altered plain pattern on 
your material and cut as before directed in the cutting of 
garments. The skirt portion of this garment may be 
plain and straight; it may be composed of shaped designs, 
or it may be strapped in shaped or bias bands — the 
design and trimming to be determined upon by the pre- 
sent fashion. Do not attempt to ornament a linen gar- 
ment with frills, ruffles or fussy trimmings. Heavy lace 
and embroidery insets and insertions are appropriate, so 
is embroidery, braiding and stitching, but the whole effect 
desired should be a tailored one, and do not deviate from 
this too much or the style of your garment is destroyed. 

76 



Madam Edith Marie Carens 



Satin and taffeta collars, cuffs, buttons or strappings can 
be used to good effect on the dress of linen. 

A white linen embroidered in delicate colors makes a 
most charming frock, so does a colored linen embroidered 
in white. Shaped designs cut in linen and the parts her- 
ringboned and spiderwebbed together makes a cheap 
trimming; it makes the garment cool and the work is 
easily accomplished. Draw your design on paper and 
trace through the paper to the linen. The cloth is again 
basted to soft paper and cut apart on the trace lines, the 
material then turned away on either side from the trace 
mark and basted again. The herringboning is then ac- 
complished — instructions for this you have had in a pre- 
vious chapter. These stitches should be made with a 
heavy twist, either in white or color same as the garment. 
The spider webbing consists of a series of webs of the twist 
connecting the edges of the material. Another thread of 
the twist is wound in and out through this webbing, be- 
ginning at the center and working about one-half the 
space full. Use webbing where there is a corner to dispose 
of in herringboning. 

Gingham dresses are essential to every woman's 
wardrobe. They are extremely practical and when made 
of good quality of Scotch gingham thay may be worn on 
the street, for shopping, for outings at the beach and 
watering places and for girls' school dresses. They admit 
of a variety of trimmings — hand embroidery, pipings of 
self or plain material of contrasting shade, heavy linen 
laces, buttons, embroidery sleeves and yokings or banded 
in embroidered insertion. 

If you are stout do not choose a gingham of large 
checks or plaids — keep to plain materials or stripes. A 
slim dainty figure will look well in one of the large Scotch 
plaids. 

The lingerie frock demands much attention for it is 
severely abused. Quantities of cheap, coarse lace have 
been lavished upon frail muslins and batistes until they 
fairly shrieked at the imposition. Above all, do not use 
cheap, coarse laces and embroideries and attempt to call 
the garment on which you used them a lingerie garment. 
It is far from it. A lingerie garment must be sheer, it 
must be dainty and it must have good materials in its 
make-up. Most all the ready made garments that come 

77 



Dressmaking Self Taught 

under this class are simply laden with inferior laces and 
embroideries, the very sight of which will turn a woman 
of refined tastes to disgust. Never under any circum- 
stances invest money in such wearing apparel; it at once 
Stamps you as belonging to a cheap class of people, a class 
that does not know good taste in dressing from bad. If 
you cannot a fiord good laces or embroideries when making 
a garment, then make your garment up plain, as it will 
look much better and give the wearer a different air. But 
on the other hand nothing is so dainty or rich in appear- 
ance as the fussy little affairs where the right quantity of 
good laces have been used and they are made well and 
finished neatly. Your waist and skirt may be tucked — usu- 
ally fine pin tucks, and in fact the entire garment made, and 
then the lace may be inserted in artistic designs, stitched, 
CUt away underneath, turned down and stitched again. 
In this manner of draping lace you can go over seams, 
carry your lace out through the sleeves from the waist or 
perhaps run it into your hem. If you do not desire this 
feature of the draping, it is best to pin your tucked mater- 
ial on a paper pattern, drape lace on, stitch, cut out, 
baste away and stitch again. In exceptionally fine work, 
this second turn should be felled down by hand and no 
raw seams allowed. 

The lingerie frock may be cut on the princess lines 
or it may be the waist and skirt joined either with or 
without a girdle. The lingerie frock may have a dainty 
draped ribbon or satin girdle or belt of lace, the same as 
used on the garment. 

The more dressy affairs for the afternoon and for 
informal affairs are usually of silk, in the form of mes- 
saline. soft tafletas. crepe-de-chines, foulards, etc. Such 
garments are usually built over a soft silk slip, cut on 
princess lines, and they may be touched up with bits of 
hand embroidery, embroidered buttons, laces dyed to 
match deep pipings of a contrasting shade, lace yokes and 
sleeves, braiding, bindings of shaped designs, etc. 

All women should care for their health, and it is im- 
possible to do this unless you are properly equipped for 
rainy days. Even the little home-body w T ho goes about 
very little will find times when a rainy day outfit must be 
brought into play. Any sort of waist will do, but you 

78 



Madam Edith Marie Carens 



require a short skirt of waterproof material, made per- 
fectly plain and a long plain coat of the same material. 

The making of the Maternity Gown. Wl own 

of this kind becomes necessary much thought should be 
given to it, as health, comfort and general appearance 
depend strongly on the garments worn at this time. The 
weight should be as light as possible and suspended h 
the shoulders. The waist of such a garment should have 
darts in the lining and laced up with a cord. The skirt 
should be of a fashionable cut, but long, covering the r 
The front gore should not dip at top, but round up instead 
— it should be cut broader also. The waist belt should be 
of elastic, the skirt must be d slightly to this, or the 

fulness laid in loose plaits that they can be let out as oc- 
casion demands. If the back of the hips appears very 
flat, a pad should be worn. The v/aist must be made soft 
and loose and slightly bloused, and an extra coat effect 
added to this and extending below the hips is most be- 
coming. The shoulders must be built very broad; sailor 
collars are very good on this kind of garment. The color 
of such a garment should not be conspicuous — black 
and whites, grays, browns and blues. 

The net veils with a nun's veiling border is the most 
popular of all veils for mourning wear. 

For a parent some wear mourning two years, the 
first year black, the second year black and white, gray 
and lavendar; for a sister or brother the same rule is fol- 
lowed. Crape is little used except for the husband or 
parent. The widow wears mourning for two years and 
of ttimes as long as she is a widow, which frequently is the 
remainder of her life. White shirt waists and black 
skirts are far more sanitary and sensible in hot weather, 
and it is perfectly proper to wear them after a few months 
have elapsed. Do not put on bright gaudy colors as soon 
Tiourning is laid aside. Pure white is considered deep 
mourning, but it is only worn in the house during the 
first few months of mourning. 

ADVICE TO THE LEARNER 

It does not take a long time comparatively to learn 
the principles presented in this lesson; it is the putting 
into practice of the principles learned. This is the real 



Dressmaking Self Taught 

work in learning dressmaking, and is generally where the 
beginner fails. She does not sew enough — she seems to 
have forgotten the three rules: Sew, sew, sew. If you 
are not putting in as much time on your sewing as you 
should then set yourself to the task at once, and never leave 
a lesson until that part of your work has been well and 
faithfully done. The best teacher in the world cannot 
help you in this respect. The real work must be done 
by the learner herself — and in order to do this we repeat, 
"Sew, sew, sew." 



FIVE RULES TO REMEMBER. 

1 . All goods that are to be made up to launder, must 
be shrunk first. 

2. In cutting out goods of any kind, overcast if it 
frays. 

3. Cloth, velvet and velveteen must be cut with all 
the pieces running the same way or they will shade dif- 
ferent. 

4. Pressing is one of the most essential points in 
sewing, as it gives the garment that stylish, finished 
effect. 

5. To shrink wash goods, lay in cold water till thor- 
oughly moist, hang over line till dry and when dry enough 
press. Keep all goods folded as it comes from the store 
and it will look like new after it has been pressed. 



QUESTIONS. 

1. What do you think of linen as material for gar- 
ments? 

2. Describe the general idea of ornamenting a linen 
frock. 

3. Why should gingham be given an honorable place 
among dress materials? 

4. Why should you never use coarse, cheap laces on 
lingerie garments? 

5. Are ready made garments satisfactory? 

80 



Madam Edith Marie Carens 

6. How should you be equipped for rainy days? 

7. What is correct mourning and what should follow 
it? 

8. Of what materials should the afternoon frocks be 
made, and describe the designing, cutting, fitting and 
finishing of such a garment. 

9. Make a design on paper for a lingerie frock. 

10. How do you do herringboning? 



81 



Dressmaking Self Taught 



LESSON Xli. 



Underwear made at home is much more satisfactory 
than that which is bought in the shops ready to wear. 
The original cost of your garments is not only less, but 
you will use far better materials and trimmings and your 
garments will be better made, thus giving them a longer 
lease of life. 

Look up a good set of patterns and alter in the same 
way as for outside garments, and if all directions and rules 
are followed, a satisfactory result may be expected. Long 
cloth, fine muslin, nainsook, cambric or batiste all make 
exquisite underwear. The selection of cloth for under- 
wear must be decided upon according to the wear you 
hope to get from it — if you want something very sheer 
and extremely dainty, then select batiste, but if you are 
particular as to the wearing qualities of your garments, 
you will find a good quality of muslin or cambric the proper 
material to use. Avoid purchasing muslins that have 
much starch in them; for when the material is once laun- 
dered, there is not much left of it. Always shrink all 
goods for underwear before cutting. 

To make drawers, you must first decide upon the 
way you want to make them. Exact measures must be 
taken to obtain a correct pattern. Take measures from 
waist to bend of knee and around fullest part of hips. 
Cut the legs of drawers over your pattern and join in a 
French seam either by hand or machine. If they are to 
be left open, then face the upper portion from leg to waist 
with a bias facing about 1 in. wide. If they are to be 
closed then this portion must be closed up. Some drawers 
call for a yoke and some have the body portion put directly 
into the band. For a stout person the yoke is the most 
satisfactory. If a yoke is to be used, baste body portion 
onto yoke so that seam will come on inside of yoke and 
baste other side of yoke down on this and stitch. Most 
all the fulness is left for the back. Sometimes the fulness 
is taken up in darts. Stitch pieces of tape to ends of 
yoke so that they will cross in back and tie in front. If 

82 



Madam Edith Marie Carens 

no yoke is used then use this tape as a band, leaving ends 
sufficiently long to tie in front. It is not desirable to tuck 
the legs of drawers, but what trimming is intended to be 
used should be put on in the form of a deep flounce. This 
flounce may be of wide embroidery, or it may be bands 
of tucking and insertion and edged with lace to match. 
A flounce on the bottom should be one and one-half times 
the size of the leg to which the flounce is to be attached. 
Another pretty flounce for drawers is made by using a 
piece of fine material the desired width of the flounce, 
that has about a dozen pin tucks in the lower portion of it. 
Insert lace in a serpentine or scroll effect, and cut away 
underneath. Apply to the edge by hand, lace edging to 
match. Do not full this on. 

Petticoats. Cut all petticoats over a five or seven 
gore pattern. The body portion should be plain to the 
flounce. Use wide embroidery or make a skimpy flounce 
about 12 in. wide of the material of the skirt, tuck in 
clusters, and hem, and stitch narrow lace edging on the 
lower edge; join this flounce to skirt by first basting so 
seam will come on the right side; stitch bias tape to cover 
this seam. The outer flounce may be the same as the 
flounce for the drawers. The body may be put into a 
yoke or tape band the same as the drawers. To finish 
the placket on a petticoat use a straight piece of material 
about 2 in. wide and long enough to go all around the 
placket. Baste this piece so as seam will come on right 
side of skirt, stitch and baste other side of facing down 
over this seam and stitch again. 

Nightgown. Get a pattern the style you wish your 
night gown; get it a little larger than your actual size. 
Either French seam all seams or finish them in tiny fell 
seams. The nightgown may be made with or without a 
yoke. The yoke may be made of all-over embroidery or 
lace or bands of tucking and lace insertion. A tiny lace 
frill finishes the neck and sleeves. A very pretty gown 
may be made by using a cluster of tucks on each shoulder, 
leaving the neck low and large and slip on over head. 
The neck would need to be finished with beading so as 
ribbon could be drawn through. Or the neck could be 
buttonholed in scallops and buttonholes worked every few 
inches apart all round the neck so as ribbon could be drawn 
through them. A spray of hand embroidery on the 

83 



Dressmaking Self Taught 

sleeves and the front of the garment would be in keeping 
with the rest. The opening of a nightgown should be 
about twenty inches deep. A fly about one inch wide 
should finish the under side, and the top side should be 
faced back 1 in. Fasten bottom of opening with a double 
row of stitching. 

A Corset Cover. For a stout person cut a corset 
cover on the same lines as a tight fitting lining and fasten 
in front with buttons and button holes. A tiny edge of 
lace should be slightly fulled on by hand around top and 
armsize. A spray of hand embroidery here and there will 
add to the looks of the garment. The neck of a corset 
cover should be cut low and the armsize should be large 
and roomy. 

For the more slight figure, cut the corset cover with 
more fulness. A plain shirt waist pattern can be used as 
a guide. Cut it sufficiently low in the neck and allow about 
4 extra in. for fulness in the front. This body portion 
may have clusters of tiny tucks, it may be tucked in 
squares, it may be composed of bands of tucking and in- 
sertion, it may be trimmed with lace insertion in cross, 
serpentine or scroll design or it may be left perfectly plain. 
At any rate the top should have first a row of insertion 
overhanded to the waist, a band of beading to this and 
last an edge of lace finishing the top. The lace edge 
should also be overhanded around armsize. 

Wide embroidery especially manufactured for corset 
covers makes good looking garments; they are easily cut 
into shape and altogether prove very satisfactory. A 
piece about 1 } ^ yards in length will suffice for the garment. 
Measure the width of the person's back and divide this 
measure by two. Supposing the width of the person's 
back was 14, one-half of that is 7; then fold your embroid- 
ery in the center and from this center measure 7 in. And 
from this mark curve out on armsize towards the front 
that measures 4 in. in length and 3 in. in depth. At each 
corner of this armsize in back attach a band of embroidery 
9 in. in length and fasten to corner of armsize in front; 
this forms the straps over the shoulder. The fulness at 
the waist is gathered into a belt that will fit the waist, 
allowing for lap in front. A fitted peplum or circular 
piece of muslin may be attached to the waist band at 
bottom to keep the garment from slipping up. 

84 



Madam Edith Marie Carens 

To do real dainty work in underwear, it should all 
be done by hand, tiny seam beading should be inset be- 
tween the seams, and wherever a touch of handwork can 
be displayed do not hesitate to do it, as it only enhances 
the beauty of the garment. Leave no raw seams. 

A princess slip cut after a model of a tight fitting 
lining is a valuable accessory to a woman's wardrobe, for 
no princess frock can be successfully fit ted over a corset cover 
and petticoat. The princess slip is cut, fit and made as a 
tight fitting princess would be made. You can finish the 
upper portion of it as a corset cover would be finished and 
the skirt portion same as a petticoat. 

The wrapper as a house dress is worn by few women 
nowadays, but it has been replaced by the one piece frock 
of gingham or any desired wash material. This garment 
has a plain baby waist, cut low neck and short sleeves, 
is attached to a plain gored skirt by a belt and the whole 
garment closes on the left side. 

The dressing sack is an important feature of a lady's 
wardrobe. For summer, make them of dainty lawns and 
figured muslins, with a bit of Valenciennes lace for trim- 
ming, and they are very cool and pretty. The neck may 
be finished with a small sailor collar. To cut such a 
garment you may use a plain shirt waist pattern and cut 
the same as directed for cutting waists. The dressing 
sack is left loose across front at waist but the fulness 
at back is gathered into a band of the material. A 
ribbon is attached at each end of this band and used as 
a stay for the fulness in front. This garment may have 
the fulness gathered into a belt at waist, the lower portion 
cut away and a peplum attached instead; this style is 
always neat looking and trim. 

A kimono is not a graceful garment by any means, 
but it is so very serviceable that no woman should be 
without two or three of them. They are made of silk, 
soft loose woolen materials or wash fabrics. They should 
be trimmed with a band of plain material around front, 
neck and sleeves. The kimono is esaily made. Select a 
pattern your bust size, cut, fit and stitch up. You will 
find there are few alterations, save perhaps in the length. 

A whole chapter might be written on the subject of 
children's clothes, for the field is large; but they, like 

85 



Dressmaking Self Taught 

grown-ups, their garments change with the fashions. 
The wise mother will outfit her children with bloomers 
for playing. They are easily made and easily kept clean. 
You will have no difficulty in securing proper patterns 
in making children's garments — and one advantage is 
that they rarely need fitting. Full instructions for the 
making of these garments come with each pattern. 

The Buster Brown dress is a sensible creation for 
both boys and girls. The blouse dress for a girl under 
ten years is always in fashion and is easy for the child 
to put on. 

Children's garments should be made of material that 
will stand heavy washing, and will fade the least possible 
in sun and water. The ducks, piques, ginghams and 
muslins are all good materials to use for youngsters' 
clothes. 

For the misses we have the sailor suit, the guimpe 
dress, the suspender dress, the * 'Peter Pan" dress, the 
"Peter Thompson" and the many thin dresses of organdie 
and lawn. These dainty little affairs with full skirts laden 
with insertions and frills of lace, and a baby waist that 
is also heavily trimmed in laces, when finished with a big 
flowing sash makes a most charming frock for a dainty 
little miss. 

The usual style for a baby dress is one with a yoke 
and skirt attached. The material used is fine lawn. The 
yoke extends to about armsize. This may be made of 
solid tucking, bits of tucking and fine lace joined over 
all-over lace and embroidery. A narrow edge of lace fin- 
ishes neck and sleeves. The skirt has a three-inch hem 
and clusters of pin tucks at top of them. Use only small 
buttons on baby garments. 

The baby's layette is usually the source of much love 
and care, and most often much extravagance. Always 
consider the comfort of the little body first. Have plenty 
of little vests, birdseye diaper, pinning blankets, plain 
slips of outing or nainsook, little sacks of flannel or 
crocheted wool, and several outside dresses of fine mater- 
ial. A complete outfit of baby patterns can be purchased 
for about fifty cents. All baby garments should be made 
by hand if possible, the work on them should be done 
neatly and carefully. A complete outfit is illustrated in 
Figure 50. 

86 



Madam Edith Marie Carens 

The girl or woman who makes all her own neckwear 
is able to save much money, for fancy neckv/ear in the 
shops comes high. Jabots may be made of bits of batiste 
and fine lace or hand embroidery. Take a straight band 
of linen the neck size and proper height, stamp it and 
embroider it in some dainty pattern. Attach it to a linen 
band and you have a very pretty collar. Cuff sets to 
match this may be made in the same way. Large sailor 
collars or little roll collars of fine tucking and insertions 
are very pretty when handled carefully. All this work 
should be done by hand, for herein lies their beauty. 

ADVICE TO THE LEARNER. 

After you have thoroughly mastered the principles 
involved in this lesson, practice the making of these var- 
ious garments. Make one of each kind of garment in 
the lesson and if you can do this satisfactorily, you have 
accomplished much in sewing, for to do the plain things 
and do them well displays no little art. 

FIVE RULES TO REMEMBER. 

1. All raw seams should be either overcasted or 
bound with seam binding. 

2. Shirtwaists and children's clothing should not be 
fitted too closely. 

3. Bias bands must always be cut on the true bias 
or they will not set well. 

4. Always use good linings. 

5. Basting is very important; if your garment is not 
well basted, it cannot be stitched well. 

QUESTIONS. 

1 . Describe the making of two styles of corset covers. 

2. How should all underwear seams be finished? 

3. Make a child's dress for practice, and describe the 
process of making. 

4. Tell how to make flounces of petticoats. 

5. How would you finish the placket of a petticoat? 

6. What style of garment is worn now instead of the 
old fashioned wrapper? Why is it to be preferred to 
the wrapper? 

7. Tell what you know about children's clothes. 

8. What is a peplum? And when and where is it 
used? 

87 



D 



ressmaking 



Self Taught 




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88 



Madam Edith Marie Carens 



LESSON XIII. 



The Tailor Made Suit. The cloth used in the tailor 
made suit should be of the very best quality, as inferior 
material cannot be made into a well fitting garment. It 
may appear to look pretty good, but it will not keep its 
shape any length of time at all ; better save your time and 
the expense of linings, etc., than make poor materials into 
tailored garments. 

In all first class stores, they are prepared to sponge 
your material for you, but if it must be done at home, 
perform the work after rules given for sponging cloth in 
a previous lesson. 

For the coat select a good pattern of the particular 
style you desire and be quite certain that it is the nearest 
possible size to your measures. Alter the paper pattern 
as you would any other pattern and cut a pattern from 
muslin or cambric; baste and fit this to the person; if 
there's to be any further alterations take them and remove 
lining, mark with colored threads where the new sewing 
line is to come, rip open your lining and you have a perfect 
pattern by which to cut your coat. Cut each piece with 
care and thought — have your lines perfect as uneven 
cutting will surely display itself in tailored work. 

To cut the canvas lining, place the cambric lining on 
the figure wrong side out and the canvas fitted to this. 
Keep grain of canvas straight across chest and pin in dart 
below bust to bottom of canvas. Baste this seam flat, 
as all canvas has flat seams. Fit haircloth over this can- 
vas in the same manner, only allow haircloth to come to 
shoulder seam while the canvas stitches in with shoulder 
seam. Baste solidly together the canvas and haircloth. 
When this is done, stitch by hand or on machine in a series 
of serpentine or circular stitches the joining of canvas and 
haircloth. Cover all edges of haircloth with cambric in 
flat seam to keep the hairs from working through the 
canvas to the outside. After the coat is fitted and stitched 
place over a tailor's cushion (a flat cushion of canvas, 
oval shaped and stuffed with sawdust, soaked and baked 

89 



Dressmaking Self Taught 

for use) and dampen and press the bust into shape. If 
the canvas does not fit well into the armsize, cut a dart 
from armsize towards the front, stitch flat. Sometimes 
the cambric lining we use for our pattern is used for an 
inter-lining but it is not necessary to use an interlining 
in coats, if it is so used the front of the canvas is built 
to it. 

If the design does not call for a turned-over collar 
and revers, the canvas extends to the front and cloth 
extends 1 in. beyond this so as to turn in under the canvas. 
If you desire regular tailored collar and cuffs such as are 
on men's coats, then cut the outside of the coat with the 
canvas; baste thoroughly all parts. A facing for the front 
is then attached by slip-stitching it on to the edge of the 
coat and later finishing edges with stitching if desired, 
or it can be stitched to right of coat and turned. This 
facing should extend 2 in. from collar towards shoulder, 
and slope gradually until it runs off to a width of about 
4 in. at bottom of coat. 

Tack canvas and cloth with crosswise basting stitches; 
this keeps the revers in shape and the cloth from sagging 
from the canvas. In taking this stitch the stitch in the 
cloth must be merely enough to hold it — only a thread. 
Arrange the stitches in rows close together. 

If an interlining is used, attach center of it to center 
of outside with basting down the center. Then baste all 
around. 

The mannish coat collar is made by using two pieces 
of canvas about 14 in. long and 6 in. wide. After they 
are shrunk baste together. Cut in half and stretch both 
upper and lower edges by wetting thoroughly and ironing 
the edges into curves, the lower edge being curved most, 
at the same time using care to not stretch the center of 
these pieces. Place the collar on neck of bust form, pin 
together in back, and mould to fit neck by turning upper 
edge over lower until it fits close to neck. The revers and 
collar are then pinned together. Chalk mark on coat 
where lower edge of collar comes. Stitch center seam of 
collar and press open. Cut four pieces of cloth like canvas 
two for outside and two for facing. Allow ^ in. seam all 
round, stitch so as seam on canvas comes on under side. 
Stitch the facing and canvas together on machine by using 
a series of serpentine shaped rows until the entire collar 

90 



Madam Edith Marie Carens 

is stitched or fasten these together with rows of crosswise 
basting stitches. Sew tape all around edge of collar and 
revers to hold them in place. Dampen and press again 
and baste to coat. Fit revers on collar. Turn cloth on 
edge of collar in and hem to revers. Join the outside of 
collar pieces in a seam and press. Be sure to place seam 
of outside collar to seam of canvas. Stretch cloth over 
collar and baste around neck line. Now join outside of 
collar and revers with the finest of slip stitching. 

Finish off bottom of coat by turning it over a piece 
of bias canvas which is cut 1 J^ in. wide and basted all 
around bottom of coat. You can stitch all around this 
any desired width. Carry the same stitching around bot- 
tom and fronts, collar and revers. 

Use satin or silk if possible with which to line the gar- 
ment, as it presents a far better appearance. In cutting 
the lining cut same as outside, only allow a 1 in. plait in 
lining throughout the back, from neck to bottom, and on 
shoulders in front. This plait keeps the garment from 
becoming too tight, also assists in the ease of getting it 
on and off. After the lining has been stitched and pressed, 
pin into the coat and baste all around; it is ready then to 
fell all around. Do this with very fine stitches and con- 
ceal them as much as possible. 

The coat sleeve is made in very much the same way 
as the plain sleeve for a dress, only it is cut larger. Place 
a piece of bias canvas on inside of bottom of sleeve and 
turn cloth over this. Stitch bottom same as coat. Press 
entire sleeve on sleeve board. The lining of the coat 
sleeve is cut a little longer than outside. After it is to- 
gether slip it over the outside sleeve when outside sleeve 
is wrong side out, and baste into shape. Either shirr top 
of sleeve with two rows of shirring or lay fulness into 
plaits. If the sleeve is perfectly plain at top like a man's 
coat sleeve, then fit it into coat with ease. Fit coat on 
person with sleeve basted in. The sleeve is basted and 
stitched in, in the same manner as the plain dress sleeve. 
In basting the coat sleeve into the coat, only baste to 
outside of coat, and then fell lining of coat over seam of 
armsize. 

Press the garment on wrong side, all except the last 
pressing. Place collar with padded side on board, stretch 
and dampen both edges and press into shape by holding 

91 



Dressmaking Self Taught 

one end up and press in the form of a loop, to get curved 
effect. Dampen revers on right side along fold and press 
by stretching edge a trifle. Press facing by using wet 
cloth, and finish with dry cloth. Press revers and collars 
in same way. Press coat sleeve at shoulders over pad, 
by using a wet cloth on wrong side. As a finish use a 
damp cloth and press all over coat on right side. To 
remove the shine caused by this, put wet cloth over hot 
iron and hold the outside of garment to this — the steam 
will remove the shine. 

Double breasted coats are made in the same way as 
this, except that fronts are cut wider. When once you 
have mastered the idea of coat making you will find that 
they are all made in practically the same way. The Eton 
coat is cut shorter in the body, has the wide back and is 
usually trimmed rather elaborately. The finish is prac- 
tically the same. 

A shawl collar is made by simply using one piece for 
the outside and carrying it down as far on the facing of 
the coat as desired. Any sailor collar pattern desired may 
be used for a sailor collar on coat. Such a collar on a 
coat is usually of satin or broadcloth and is used on a coat 
that is intended to be somewhat elaborate. Buttons and 
strappings further ornament this. The cuffs must match 
such a collar. Cuffs in coats are of many styles — plain 
flat affairs, roll back cuffs, a bias band and fastened with 
a button, shaped cuffs, etc. 

Pockets may be in the form of a patch pocket which 
is made and stitched flat to coat. They may be the inset 
tailor pocket, which has a slash in the coat, the pocket 
then faced down a ways and stitched to this slash on right 
side, turned and pressed thoroughly. They may have the 
little shaped flat piece to finish the slash in the form of an 
overlap. 

Make a plain Four Piece Skirt to complete this suit. 

ADVICE TO THE LEARNER. 

The making of tailored garments is not a difficult 
task when once you have grasped a few details. They 
are all suggested in this lesson, and if you have given it 
every attention you will have no difficulty in making a 




Madam Edith Marie Carens 

good looking tailored garment. Tailored work really is 
a man's work as it is very heavy and requires much strength 
in the pressing. But a woman can do much tov/ards 
making a success of tailoring if she but gives the proper 
attention to principles involved. Practice the making of 
small tailored models until you well understand the ad- 
justing of collars, cuffs, revers, basting in sleeves and 
linings, and pressing. 

FIVE RULES TO REMEMBER. 

1 . In using striped material be very careful that the 
matching of the stripes is perfect. 

2. Always allow an inch plait in lining of coat at 
shoulder in front and middle back. 

3. All tailored buttonholes are bound about with a 
heavy cord and then buttonholed over this. 

4. Collars and cuffs may be of material like garment 
or of a trimming material. 

5. Be sure and get good lines in tailoring, for nowhere 
else in the making of garments do poor lines so display 
themselves. 

QUESTIONS. 

1. How should the finished stitching be done on a 
tailored coat? 

2. How would you make a shawl collar? 

3. How do you baste in a lining of a coat? 

4. Describe the foundation of a coat. 

5. How should the bottoms of sleeves be finished? 

6. When would you use a sailor collar on a coat? 

7. Why do you use canvas in bottom of coats? 

8. In what way do double breasted coats differ from 
single breasted? 

9. Make a model for a single breasted coat. 

10. What kinds of materials are used for coats? 



93 



Dressmaking Self Taught 



LESSON XIV. 



The Unlined Semi-fitting Long Coat. The material 
for such a coat may be of cloth or it may be of heavy silk. 
But use the very best material that you can possibly afford 
and put the very best of workmanship on it. 

All coats, whether long or short, loose or tight, are 
made on the same general plan and if you thoroughly 
understand Lesson 1 3 you will have no difficulty in making 
a good looking coat. There are certain details to be fol- 
lowed in tailoring, and when once you have mastered 
those, success is assured. 

Figure 51 illustrates a long, semi-fitting coat with 
sailor collar. Select your pattern and alter to fit your 
measures. Cut a cambric lining like the altered pattern 
and after it is basted up, fit it. Alter where necessary, rip 
apart and pin to your material. Goods 52 in. in width 
cuts to much better advantage. Be sure to cut center 
back to double lengthwise fold of cloth. All other pieces 
are cut double. Baste the sides of center back piece away 
into a tuck to form lap seam. Also baste sides of center 
front to form lap seam. If these seams should finish with 
a ^/i m - l a P> then baste away ^ in. Pin all the parts to- 
gether while lying flat on the table. Baste with small, 
running stitches. The underarm seams should be basted 
and stitched into an ordinary seam. You will find that 
the garment requires little or no alterations if you have 
done your work carefully up to this point. 

Use a white thread and baste with a half-inch marker 
all along the lap seams. Stitch on this line and be certain 
that you stitch from the edge of the tuck or the seam will 
be puckered. 

All seams should be bound with bias strips of satin 
or taffeta. Stitch these on with seam on top, turn and 
finish the stitching on the right side. Press the entire 
garment the same as directed in Lesson 13. The sleeves 
should be given their proper attention. All seams are 
finished up the same as in the coat. All seams may be 
bound before the garment is stitched. 

94 



Madam Edith Marie Carens 

There are no revers on this coat when the sailor collar 
is used, but the front of the coat must be canvased the 
same as any coat. The collar is cut from your sailor collar 
pattern. This may be made of the cloth like coat or it 
may be of silk or satin. It is cut double but has no canvas 
interlining. 

The cuffs should be of same material as the collar. 
They are interlined with canvas. All canvas used in this 
garment should be the regular tailor's canvas — soft but 
heavy. Press the coat thoroughly. Work four medium 
sized buttonholes on the right side, the first to come just 
where the collar finished and each one to be about four 
inches apart. Two large buttons and buttonholes may 
be used instead of the four smaller ones. 

Use patch pocket for this coat. If it is the fashion, 
use very large ones. Make them of the material of the 
coat and face with silk or satin. Stitch into place on coat 
with one row of stitching close to outer edge. Stitch all 
around edge of coat with one or two rows of stitching as 
desired. The sleeves are inserted with the fulness laid 
in plaits or gathers. Set in sleeve with fulness proportion- 
ed same as for a dress-sleeve. Try on sleeve, and if all 
sets well stitch it into place with a bias binding under- 
neath; finish this binding on right side of inside of coat. 

If such a coat is to be lined, it is necessary to cut the 
lining at the time you cut the cambric lining. Baste it, 
stitch and press and apply to coat same as in Lesson 13. 

The Lined Tight-fitting Coat is cut after a tight- 
fitting pattern, with the same rules applying as for other 
coats. Just a little more care must be exercised in the 
cutting and making and just a little more padding and 
pressing must be done to overcome any and all defects as 
this garment must be absolutely perfect. 

ADVICE TO THE LEARNER. 

Spend every moment possible in the study of tailor- 
ing — even if you do not intend to follow this branch of 
sewing, as it will aid you materially in acquiring accuracy 
and correct proportions. Rip apart every old tailored 
garment you may have about the house. Press the pieces 
carefully and put the garment together again. Note how 
every stitch is put in, how the padding and canvas is 

95 



Dressmaking Self Taught 

applied; also take special note of the pockets and collar. 
Men's tailored garments are the best practice material, as 
you are certain there that the workmanship is absolutely 
correct. If you are in the habit of devoting one hour each 
day to sewing, spend at least five minutes in tailoring. 
Remember too that it's the pressing that counts, so give 
no little time to the practice of correct pressing. 

FIVE RULES TO REMEMBER. 

1. Never waste scraps in the sewing room; they can 
be put to so many good uses. 

2. Always dress a young girl in all white garments as 
much as possible. 

3. Dressmakers are born — not made; but the art 
may be acquired by careful study. 

4. Velvets make excellent long coats. 

5. Do not dress the old lady in black — her silvery 
hair blends beautifully with all white, steel gray and navy 
blue. 

QUESTIONS. 

1 . What kind of material should be used for the long 
coat? Why? 

2. Why is it necessary to have studied thoroughly 
Lesson 13? 

3. What makes tailoring difficult? 

4. Describe in detail how you would cut a long semi- 
fitting coat that it will fit correctly? 

5. What kind of stitch should you use in tailoring? 
Why? 

6. Describe the making of a tailored sleeve. 

7. Describe the pressing process. 

8. How should the seams be finished? 

9. Describe fully the joining of a coat sleeve. 

10. How about the cuffs, collar and pockets? 



96 



Madam Edith Marie Carens 



LESSON xv. 



There seems to be little more to say on the subject of 
coat making. You have already been given the theory 
of tailoring and what you now require is practice, practice. 
You cannot put too much time in on it. 

There are many ways in which to finish both outside 
and inside seams in coats. In Lesson 14 you had the Lap 
Seam for the outside finish and the bound seam for the 
inside. Where a coat is to be lined the welt seam is very 
satisfactory — but in getting ready for this be very careful 
in the basting; press thoroughly after the first stitching, 
baste again and press once more before the second stitch- 
ing. You absolutely cannot press too often in tailoring 
work. Press every seam after each basting and after each 
stitching. Press by weight on the iron and not by moving 
the iron lightly over the cloth. Use as heavy irons as you 
can possibly handle. 

In making different styles of coats, use whatever style 
of seam that would be appropriate for them. In some 
seasons the slot seam is very fashionable. This is made 
by basting away each side of the pieces of material in a 
tuck; they are to be joined, and either baste a piece of the 
material under the joining, leaving a space of about 3^2 m - 
between each, or in basting away the edges leave one side 
extend out far enough that the other side may be basted 
to the first piece, still leaving }/i in. space. The slot seam 
may be used on waists, skirts or coats. Where there is no 
joining of material, the slot seam may be formed by using 
two tucks and turning them towards each other. A bit 
of trimming is ofttimes inserted between these tucks. 

When stitching is fashionable, the stitched seam 
makes the proper finish on a tailored garment. Stitch 
the seam as usual and when the coat is ready for the lining 
stitch two, three or four rows of stitching all of even width 
down one side of each seam. Press thoroughly afterwards. 

For the Double Stitched Seam, stitch on either side 
of the seam. For this turn the edges of the seam back on 

97 



Dressmaking Self Taught 

each side — but for welt, and single stitched seam, turn 
edge all one way. 

Piping is used to good advantage on seams. On 
coats this may be of silk, satin or broadcloth. Or the 
seams may have a bias band of the silk, satin or broadcloth 
stitched flat on the seams. Braid may also be used to 
outline seams, but it must be a flat pattern. Trimming 
thus used forms a Strap Seam. 

Coat collars may be plain or fancy, all depending on 
the style of the garment. The strictly tailored coat of 
cloth should have no other collar than like on a man's 
coat. Those of a more fancy pattern may have a sailor 
collar, shawl collar or shaped collar stitched flat to coat. 
Any of these may be elaborate or plain. They may be 
ornamented with straps, bands, braid, buttons or inserted 
trimmings. Cuffs are always made to correspond with 
the collar, and whatever trimming is used on collar should 
be used on cuffs. 

The lining of all coats should be felled down neatly 
all around — no stitches showing. On more elaborate 
garments a tiny feather stitching or the narrowest of 
ribbon slip stitched over the felled seam makes a dainty 
finish. 

The evening coat is usually made of broadcloth, satin, 
velvet or lace. In each case use a pattern that is large 
and roomy and has comfortable sleeves that the gown 
beneath will not become mussed. The evening coat ad- 
mits of much elaboration, but first of all, the cloth must 
be elegant. Never attempt to make such a garment 
from inferior materials; far better do without the coat. 
If lace is used, it needs must have an interlining of chiffon 
or satin. Satin is better for the finished lining than silk. 
A shirred lining of chiffon over the satin lining gives the 
finished garment a rich appearance. The wrap of broad- 
cloth, velvet and satin may have trimmings of beautiful 
creamy lace, fringe, large embroidered buttons and orna- 
ments; heavy silk tassels, drapings of chiffon, etc., all 
depending on the fashion of the moment. No woman's 
wardrobe is complete without one evening wrap if she is 
in the habit of going about to theatres and dinners. 



98 



Madam Edith Marie Carens 

ADVICE TO THE LEARNER. 

Take bits of cloth that you may have about the house 
and practice making every kind of seam mentioned in 
this or any other lesson in this book. Do them again and 
again until you are expert at seam making. Practice 
making fancy collars from odd pieces. Experiment with 
every kind of collar that can be used in sewing. Make 
an evening coat for practice. You can make it from 
scraps and make it doll size; what you want is the practice 
in the cutting, designing and finishing. 

FIVE RULES TO REMEMBER. 

1. Pin all seams before basting and baste all seams 
before stitching. 

2. Try on all garments before stitching. 

3. Remenber that good clothes will give you prestige 
wherever you go — in business it is your stock-in-trade. 

4. All broadcloths and velvets have an up and down 
and a right and wrong. 

5. In figured materials with an up and down, never 
cut two pieces at once, else you will have the one side 
wrong. 

QUESTIONS. 

1 . What is the most essential thing to do at this point 
in your tailoring lessons? 

2. Describe the Lap Seam. 

3. Why is it essential to do good pressing in tailoring? 

4. What do you know about the various kinds of 
seams? 

5. Describe three kinds of collars. 

6. How would you finish the lining of an opera cloak? 

7. How would you finish the lining of a long tailored 
coat? 

8. What style of cuffs would you use on a severely 
tailored coat? A fancy silk coat? 

9. When and how do you use braid on tailored gar- 
ments? 

10. What about buttons for coats? 



99 



Dressmak 



n g 



Self 



Taught 




PLAIN SEMI FITTING PLAIN TIGHT 
LONG COAT WAIST 

NO. 51 NO.49 

100 






Madam Edith Marie Carens 



LESSON XVI. 



To buy well, depends on one's self — and it's no easy 
matter to get full value for money expended. Think 
carefully and systematically of what you are about to 
purchase. Successful shopping depends on the compar- 
ison of prices and qualities also as to what use the article 
is to be put. Many ladies are inveterate bargain hunters 
and what they may think is a bargain often proves the 
the opposite, for somebody must be the loser. At the 
close of a season is about the only time when you can 
actually find bargains for it is then when the shopkeepers 
are anxious to make way for new goods. In the height 
of the season, beware of the bargain counters. 

Remnants are not always a wise investment as they 
frequently are either too large or too small for the use you 
wished to put them to, and eventually you will spend 
more than a whole piece of cloth would have cost in the 
beginning. Every woman with the right kind of respect 
desires to always look her best, and to do this she must 
exercise the best of judgment in buying unless her purse 
is full to overflowing. Buy linen only from reliable houses, 
as it is so easily adulterated. Wet tip of finger and put 
to the linen ; if it absorbs the moisture readily the material 
is very apt to be pure linen. 

In buying silk, crumple in hand; if it musses easily 
it is not of a good quality. If the threads of the material 
pull readily apart, do not buy it. Cheap silk is a waste of 
time in the making. For linings, use the very best grades 
of silk. 

Never buy cheap woolens of a rough loose weave, as 
they will shrink and draw out of shape. Never invest 
money in cotton and woolen mixed goods. To detect 
shoddy woolens is an easy matter. Ravel a piece of the 
goods and if the short ends break away beware of the 
cloth. Shoddy is a combination of short woolen fibers 
and various other materials. Do not buy cottons that 
will fade in ordinary washing. It is always best to try in 
soap and water a sample of the material before purchasing. 

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Dressmaking Self Taught 

In buying velvets, always buy the best you can pos- 
sibly afford as it will then last you for years, while if the 
material was of an inferior grade, it would soon grow 
rusty and become faded and worn in appearance. 

Many things must be considered in planning a new 
garment — the figure of the person for whom the garment 
is being planned is the most important. If the subject 
is short and stout, avoid stripes or trimming going around 
or loose fluffy trimmings. Aim to give her height. If 
you cannot design a garment for her yourself, then select 
a picture in a fashion book. You can choose what is best 
from several styles — a sleeve from one picture, a skirt 
from another, a touch of trimming from another, a waist 
from another. But the trimming on each of these must 
be in harmony. 

In buying materials always select the best the purse 
will afford and buy sufficient quantity that the garment 
can be cut out easily without some ungainly piecing. Buy 
just enough. If you measure your pattern you can 
readily tell just about the exact amount of material re- 
quired to make a garment. 

Be very sure that no shades clash on a garment. 
Every color, every tone must melt into each other as the 
sinking sun melts into the horizon. Avoid colors and 
effects that are loud and suggestive. Use good taste. 
Do not use cheap trimmings. A plain dress well made 
is far more satisfactory than one elaborately decorated 
with gaudy materials. That indefinable something called 
style does not belong to all of us and we must make up 
for this defect by giving to our good points some thought 
and consideration. Do not rush into new styles too 
readily nor hold too long to the old. "Be not the first by 
whom the new is tried, nor yet the last to cast the old 
aside." Strike a happy medium in the selection and mak- 
ing of your clothes and you are certain that you are always 
tastily and properly attired. In such clothes you are 
happy and at ease, for you know you are dressed in good 
taste. 

In choosing shades and colors, select those that will 
blend with the eyes, complexion and hair. Gray with 
touches of old rose; brown with a note of yellow; dark 
blue with green; black with turquoise, and grass green 

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Madam Edith Marie Carens 

with tan are all very smart looking. Black with red; old rose 
with touches of pale green; pink with white; lavendar 
with heliotrope and, most every shade and color toned 
down with black may be made into striking costumes. 

Rich dark brown touched with vivid red, or bright 
plaid is a fine combination for a dark, sallow woman. 

Cream or white is good for the brunette with high 
color. All pinks are good for her; so is gray if her com- 
plexion is good. 

Any shade of blue is good for a blonde, so is green and 
scarlet if her skin is white. 

Black is good for the blonde and brunette alike, and 
no woman's wardrobe is complete without a black gown. 

The short stout lady should look to the long flowing 
lines, and avoid frills. Banish the high collar and wear 
soft turn down affairs of lace. Extremely tight fitting 
garments on the stout woman only accentuates her stout- 
ness; tight garments are only for the good figure — neither 
stout nor thin. 

The thin woman to make the best of herself must 
omit the word lines from her being. She should avoid 
tight waists, lengthwise trimmings, long flowing sashes, 
unbroken lines or anything that tends to give length or 
flatness. Fit her up with soft, fluffy ruffles and frills, 
and trimmings encircling the form. Always aim to soften 
her contour and break up those angular lines. 

Women owe it to themselves and to all they hold dear 
to ever and always look their best. Do not make people 
suffer through your vanity, but a certain amount of it 
will work wonders in a woman's makeup. The well 
dressed woman is received where she of plain raiment is 
shunned. Try going into a high class hotel or depart- 
ment store in shabby garments and note the attention 
you will receive by those intended there to serve you — but let 
an elegantly gowned lady enter a store or hotel and all 
will strive to be attentive. Then, too, the woman who 
knows she is well attired is happy with herself, and to be 
happy means that she be pleasant and congenial to all 
those about her. Be as well dressed at all times as your 
purse will afford. Go on to the street, go shopping, go 
calling, to dinners, in the proper garments so as you can 

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Dressmaking Self Taught 

look the whole world in the face with a self-satisfied air. 
Study your customers carefully when they are ordering 
new garments. Be very sure you are desinging the proper 
garment for them. If the customer is flat chested, nar- 
row shouldered, tall and thin, build her gown that it will 
give her breadth and take away from her height. If your 
customer has uneven proportions, note this carefully and 
remedy. If she is stout but lacking in some perfection, 
note this and build her out. If she is stooped, design 
her waist so as to conceal this as much as possible. If 
she has hollows about the arms and neck pad her out. 
If she is short, make her appear taller by using lines, 
lengthwise trimmings and long skirts, but do not put too 
short skirt on the tall slender woman, or she will appear 
awkward and ungainly. 

ADVICE TO THE LEARNER. 

You must be careful to distinguish between good and 
bad sewing; too much pains cannot be taken in this par- 
ticular for often an ill made garment can be traced 
directly to this carelessness. It is better to do the work 
well than to have done much, Do it well, no matter how 
long it may take you to do it. We are anxious to have 
you "get on," but it must not be done at the sacrifice of 
well made garments. 

FIVE RULES TO REMEMBER. 

1 . The facing of a skirt if wide must be cut the shape 
of the bottom of the skirt. 

2. Padding should be done wherever necessary in 
building garments. If the person is flat-chested use 
crinolin or muslin ruffles under the lining. 

3. Hair cloth and canvas should always be sponged. 
Wet and hang up till almost dry and press between cloths. 

4. Never buy material for a garment nor the trim- 
ming until you have decided on the style in which it is 
to be made. This will save much money and much 
worry. 

5. Always buy a little more material than is actually 
required for the making of your garment, as it will help 
you if you desire to remodel it. 

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Madam Edith Marie Carens 

QUESTIONS. 

1. Tell how you should buy with good judgment. 

2. What colors should a blonde wear? A brunette? 

3. Why should care be used in designing? 

4. What kind of garments should the tall thin woman 
wear? 

5. What about the blending of shades and colors? 

6. Tell how to buy linens, silks and woolens success- 
fully. 

7. Why should women dress the best their purse will 
afford? 

8. What should you do to make a garment set well 
on a person of ill proportions? 

9. What about the trimmings for a dress? 

10. Why buy expensive velvets? 



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Dressmaking Self Taught 



lesson xvn. 



To cut a true bias band or fold, it is first necessary 
that your material be folded on a true bias; to do this, 
fold your material over cornerwise so that the selvage 
falls on an even line with the cut edge. Cut through the 
folded edge which is the bias and cut off strips by measure, 
so they are even width all along. Use a pencil or chalk, 
mark the width of the bias every few inches and with a 
ruler connect these marks; cut on this ruled line. Con- 
tinue this process until you have sufficient bias material. 
Use great care in joining these strips, as they must all 
be the same way of the goods when joined. Straps are 
cut in the same manner. 

Ties are usually cut on the bias, and should be the 
proper length. If piecing is necessary, then join where 
the seam will come in the knot. These ends should be 
cut on a three-quarter bias line and the entire tie hemmed 
with a tiny hem or made double, stitched and turned. 

To cut yokes for waists and skirts it is first necessary 
to do your designing of yoke on a piece of paper with 
pencil. When you are satisfied with the diagram, cut all 
around pencil line and you have your yoke pattern. 
There are the pointed, square, rounded yokes and yokes of 
shaped design, both for waists and skirts. Draw pic- 
tures of all these and see how many new styles of yokes 
you can actually originate yourself. Attach these to 
waist and skirt patterns in your practice. 

There are many varieties of trimmings that are used 
on gowns, a list of a few are given here: Cord trimming, 
made by using a bias band of whatever width desired, and 
a cord is inserted on each side of the band as the edges 
are turned over. This should all be done by hand. The 
cord on either side or both can then be drawn into what- 
ever design desired. 

The making of chiffon roses is another charming 
trimming; instructions in the making you had in a former 
chapter. 

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Madam Edith Marie Carens 

Beading is revived now and then by Dame Fashion. 
It is beautiful, but requires much patience in applying. 
The garment is stamped the design desired and then with 
needle and thread the beads follow the outline of the 
stamping. 

The applying of flowers and conventional designs 
cut from silk velvet and applied to chiffon gives a richness 
that nothing else could possibly give. 

Tiny rosebuds made from narrow pink ribbons and 
festooned about neck, sleeves and skirt make a rich but 
inexpensive decoration. 

Satin pipings and collars give any garment a finished 
look. 

French knots are used in the ornamentation of both 
elaborate dresses and tailored affairs — they seem to fill 
vacant spaces that nothing else will. They are much used 
on muslin underwear as well. 

Review your lesson here on herringboning. 

Pipings are appropriate on the elaborate gown as 
well as on the more tailored affairs. Pipings are made 
from bias bands folded in the middle. They are applied 
to the edge of shaped designs, cuffs, collars, belts, etc., 
about one quarter inch of this piping is displayed. This 
may be of silk, satin or any material in keeping with the 
garment and the color used must also harmonize. 

A cluster of buttons here, a spray of hand embroidery 
there, a richly fashioned collar, a bit of rare lace at throat 
and sleeves, a huge covered buckle at belt in back, a bunch 
of artificial flowers worn at the belt, a row of tiny satin 
bows on yoke in back all go to give the garment that 
finished appearance. They are the finishing touches, as 
it were. 

Right at this point, it might be well to spend a couple 
of hours reviewing the cutting of skirts and v/aists. Turn 
back to your lesson on skirts and waists and go over them 
thoroughly once again. See if you do not understand 
them better — see for yourself if there isn't something 
new there that you never saw when you studied them 
before. Be very sure you can cut a skirt of any style 
from exact measures, or that you can alter any pattern 
that it will exactly fit you. 

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Dressmaking Self Taught 

A bridal trosseau or outfit requires much thought. 
Consider every side of the question — the amount of 
money to be spent on such an outfit and the station in life 
the bride will occupy. Every girl should have six full 
suits of underwear, one-half dozen pairs of stockings, one 
dozen skirts, two pairs of shoes, one pair of slippers, one 
kimono, two dressing sacks, one bath robe, one silk pet- 
ticoat, good comb and hair brush, tooth brush, nail brush, 
and other toilet articles which she may require. 

For outer garments she should have one good semi- 
tailored frock of dark wool material, a tailor made coat 
suit, black or dark blue skirt and six shirt waists, a pretty 
fancy dress, two gingham house dresses, aprons, etc. 

The wedding gown is usually of white, symbolic of 
purity. By all means be married in white, be the gown 
elaborate or simple. If the wedding takes place in the 
summer, swiss or organdie would make a suitable gown; 
trim this with lace and insertions. It should be worn 
over a princess slip of china silk. Wear with this a white 
leghorn hat. Never wear a bridal veil with a short dress 
- — a veil is worn only with a gown with a train. 

Voile, crepe de chine, chiffon cloth, eolinne, net, 
marquisette and satin all make appropriate wedding 
gowns. Lace robes are exquisite for this purpose. 

Satin of course is the most exquisite of materials and 
should be cut on the princess lines with yoke and lower 
sleeve portion of fine lace. The train of such a garment 
should rest on the floor at least one yard, measuring from 
waist to end of train seventy-two inches. 

The tulle veil should be a little longer than from the 
top of the head to the end of the train, and should be ar- 
ranged by a milliner or some one with taste. Orange 
blossoms are worn in the corsage and the hair. The gloves 
should be of long white suede or glace kid. The flowers 
carried may be of roses, lillies of the valley or orchids. 
The stockings worn are white silk and the shoes white kid 
or satin. 

For a quiet wedding the bride may wear her going- 
away gown — an elegant tailored suit of blue, tan or gray. 
A handsome lingerie waist may be worn with this suit. 

A long coat of pongee is a very useful addition to a 
bridal outfit. 

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Madam Edith Marie Carens 

ADVICE TO THE LEARNER. 

Remember it is only a perfect familiarity with every 
new principle presented, and the application of the same 
in making garments, that satisfactory progress can be 
made. Do not be impatient; do not think that some 
other method of study will enable you to secure a know- 
ledge of the art of dressmaking, for it will not. Each 
lesson is like a step in a journey, each one bringing you 
nearer the end; and like the traveler, when the end is 
reached the pleasure experienced from a knowledge of the 
fact that the v/ork is accomplished, will give you renewed 
energy to use intelligently the attainments secured by a 
thorough mastery of the lesson, each one of which may be 
compared to the steps taken by the traveler in his journey. 

FIVE RULES TO REMEMBER. 

1 . In pressing cloth seams in cloth dresses all seams 
must be opened. Run damp cloth along seams and press. 

2. Be sure all woolen goods has been sponged before 
you cut your garment or else you cannot press seams well, 
and too, the seams are liable to spot when in contact with 
water if not previously sponged. 

3. In making seams in haircloth, you must stitch a 
piece of lining over the joining of the seams so as to pre- 
vent the hair from working out. 

4. The height of collars must depend upon the 
wearer and the style of the moment. 

5. The velvet for a small tailor made coat collar can 
be put on the collar in the bias. 

QUESTIONS. 

1 . Explain in detail how you cut a true bias band or 
fold. 

2. What is the difference between bands, folds and 
straps? 

3. How would you proceed to cut a square yoke for 
a waist? A pointed one for a skirt? 

4. When and where are pipings used? 

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Dressmaking Self Taught 

5. What do you consider gives the finishing touch to 
a gown? 

6. Make a sample of four kinds of fancy trimmings 
for gowns. 

7. Why do you consider a review of skirt and waist 
cutting here beneficial? 

8. Describe the wedding gown in detail. 

9. Make up a list for a trosseau. 

10. When is a travelling suit permitted to be worn 
at a wedding? 






110 



Madam Edith Marie Carens 



LESSON xvm. 



This lesson is to be a general review of all the pre- 
ceding lessons. It is not necessary to go into detail again 
of all the interesting things found in each lesson; but go 
thoroughly over every one, search it carefully, see for 
yourself if there is anything you do not understand, for 
if there is one single thought that is not plain to you 
study it again and again; practice the things that appear 
difficult to you, do them over and over until they are as 
familiar to you as your ABC's. Make one model of every 
garment; of every style trimming; of every kind of stitch 
and of every kind of seam and hem mentioned in this 
book. You cannot do this too often. If you are thor- 
oughly familiar with these lessons you are then capable 
to do any ordinary sewing — you have laid a foundation 
for high class work and you can easily do it. 

Take every opportunity to learn to make compli- 
cated garments; learn new things that are not suggested 
on these pages. Read articles on dressmaking, study, 
pictures of new fashions and note wherein you might im- 
prove them — nothing is so perfect but what some critic 
may discover a flaw. Learn to recognize at a glance what 
will best suit your customer and be appropriate for her 
particular style. The more practice you have in this 
work, the sooner you will be able to make practical use 
of dressmaking. Do not let a single day pass without 
giving some portion of it either to cutting or sewing, if it 
is only thirty minutes you have to spare, give it. More 
will be accomplished by devoting I 5 minutes each day, as 
near a certain hour as possible, than by two hours irregular 
practice as opportunity offers. 

If directions for study and practice given in each 
perceding lesson have been faithfully followed, you should 
be able to make any ordinary garment in a lady's ward- 
robe, and make it so it will be stylish in design, perfect 
in fit and the workmanship first class. See if you can't 
say this much of yourself. Rules have been given in this 

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Dressmaking Self Taught 

lesson that call attention to important phases of the work 
and if you have learned them as thoroughly as you should, 
you will have no difficulty when your work brings you 
in contact with such things. You should be possessed 
of such a thorough knowledge of dressmaking as to make 
the practice of sewing easy, pleasureable and useful. 

QUESTIONS. 

1. Name, describe and give uses of three kinds of 
seams. 

2. Tell how you would make a seven gore skirt. 

3. Describe in detail the fitting of a shirt waist. 

4. How would you cut a plain one seam dress sleeve? 

5. Tell what you know about the 1 5 gore skirt. 

6. How may you learn to be an originator of styles? 

7. How would you cut a gored plaited skirt? 

8. Describe fully the boning of linings. 

9. How would you join a waist and skirt? 

10. Describe the making of a princess frock. 

1 1 . What about the lingerie frock? 

12. How would you proceed to make a tub petticoat? 

13. What is the advantage of the tailor made suit 
over other garments? 

14. Tell in detail about the making of a long, semi- 
fitting coat. 

15. How should tailored linings be finished? 

16. Why should women wish to dress well? 

1 7. What gives the finishing touch to a garment? 

18. Which do you consider the most important of all 
these lessons? Why? 

19. Tell how you would design, make and trim a 
waist, skirt and dress. 

20. Describe in full how to make every kind of fancy 
stitch given in these lessons. Explain their use. 



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Madam Edith Marie Caren 




Babys Outfit Figure So. 



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Dressmaking Self Taught 



LESSON XIX. 



How to design, make and trim two different styles 
of waists. 

Waist No. 1. The Peasant Blouse. Select your 
plain peasant blouse pattern as nearly the proper size as 
possible. Cut a newspaper pattern from this that takes 
in the entire waist. Make the blouse of fine imported 
embroidered Swiss. This material is quite wide and you 
will see at a glance that you will require but one length 
for the garment. Four inches from the neck on either 
side put in a cluster of eight or ten tiny tucks. Of course 
you can not stitch in tucks through embroidery designs so 
you will have to arrange your tucks accordingly. Extend 
them about 6 in. down in front and back from a line drawn 
down from the neck through the center of the sleeve. 
After your tucks are stitched, pin the center of your ma- 
terial to the center of your pattern; pin all around se- 
curely. On the opposite side of your pattern draw the 
design for scroll work. Lace 1 in. wide is used. 
Most all val. laces have a thread on each edge, that you 
can draw up and thereby use your lace for circles and 
curves. After you have your design drawn on the one 
side of your pattern, pin it together and use tracing wheel 
to mark other side and both sides of the material. In 
designing this scroll, it will be well to bring the first row 
of the lace well up around the yoke to make that portion 
of the garment lacy and pretty. The second line of lace 
should have the scrolls brought low upon the sleeves, 
giving the shoulder a broad effect. The bottom of sleeves 
should finish with two rows of the insertion put on 
straight and edged with lace to match. The insertion is 
used in a scroll effect about the low throat as a finish. 
The waist fastens in back with tiny buttons, about 1 in. 
apart. The front of the waist is left loose at waist line, 
and the back is gathered into tape that is long enough to 
form a tie across the front. Any lingerie waist is made 
in the same manner, except the sleeves, and they are made 
separately and then set in. 

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Madam Edith Marie Carens 

Waist No. 2. A white chiffon blouse for evening 
wear. Cut and make a tight fitted lining according to 
rules given. Put it on a bust form and you are ready to 
drape the outside. Use a straight piece of material the 
length of the front and back. Hold the material to the 
form and find out about where the neck, shoulder and 
armsize will come; pin line these. At the same time pin 
line (put a row of pins) a line that would give bolero effect. 
Then run in by hand a series of the tiniest of pin tucks. 
A pinch of these tucks about the yoke and in the sleeves 
would look well. For trimming we will use some very 
fine point lace motiffs. These are applied to the chiffon 
by hand in artistic design, the goods is cut away and edges 
of material run back by hand. This lace should be used 
freely on body of waist and sleeves. Cut another piece 
of chiffon same as this one and use as interlining. Now 
first drape the interlining to the tight lining by pinning 
center front of chiffon securely down center front of 
lining; pin all around neck and armsize and draw fulness 
in at waist, front and back. Cut out now for neck and 
armsize and pin into place under arm. Drape the outside 
on in the same manner. 

The sleeves of such a garment should be very short, 
with crescent shaped clusters of tucks down center of 
sleeve on the cross and about 4 in. long. Between these 
clusters applique the lace. Use a short tight fitting sleeve 
lining, put it on the sleeve form and drape the outer sleeve 
on this; use interlining on chiffon. Finish neck and lower 
part of sleeve with tiny frills of very narrow val lace and 
a piping of pale blue chiffon. Two sets of hooks close 
the garment in the back and the fulness at waist is fitted 
into a peplum of the silk. A deep girdle of pale blue 
messaline is worn with this charming blouse. A cluster 
of forget-me-nots caught up with pale blue velvet ribbon 
is worn at the belt. 

How to design, make and trim two different styles 
of skirts. 

Skirt No. 1 . Four piece skirt in white serge. You 
can use a pattern and alter to fit or you can cut the skirt 
from measurements, the directions for cutting are given 
here. Suppose the measures are: Waist 24 in.; hips 38; 
length front 37 in.; length of side 38J^ in.; length back 
38J/2 m - Use a large piece of paper from which to cut your 

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Dressmaking Self Taught 

pattern. Measure down from top of paper on a straight 
edge Y2 m - P ut mark there; from this Y2 * n - mark measure 
down 37 in. Put mark here; this is the length of skirt 
in front. From the V2 in. mark measure down 6 in. 
Put mark there; from this 6 in. mark measure straight 
out and slightly up 4 in. for the width of front gore. 
Measure out and slightly up from the 37 in. mark, 8 in.; 
this is width of bottom of front gore. Through the mark 
at hips draw a line from waist to this extended mark at 
bottom 373^ in. long. Curve in from the hip mark at side 
to waist line until you have waist size for the front gore 
3 in. Curve from the first mark to top of paper — this 
gives the curve at top of front gore. Now cut all around 
your drawings and you have one-half of the front gore of 
your skirt. 

The side gore. On another straight edge of the 
paper, mark down 3^2 in. From this }/2 in - mark down 
373^ in. From the 3^2 in - mark down 6 in.; from the 6 
in. mark out and slightly up 1 1 3^2 m - through the 373^ 
in. mark, mark out 1 8 in. Through the 1 1 3^ in. mark on 
the gore side, mark down from the waist to the 18 in. 
mark at bottom. This line must be 38J^ in. long; 6 in. 
is the size of the waist for this side gore, then curve in 
from the 6 in. mark to the waist equally on each side until 
you have 6 in. for the waist size. Curve out the top 
around waist. 

The back gore. It is cut the same as the front, ex- 
cept it is Y2 m - smaller at hips and 2 in. larger at bottom. 
It is 383/2 in. long on both sides. The top is cut straight 
across. Be sure and allow 3^2 m - f° r seams on each side 
where the goods is not cut on the double; if cut on the 
double, only allow }/i in. for seams. Of course the straight 
side of the pattern is laid to the fold of the goods for the 
front and the back gores. Both sudes are cut at once. 
A hem is allowed at bottom to be 3 to 5 in. wide; V2 in. is 
allowed at top and bottom for seams. 

To get the proportions for the cutting of any skirt, 
first know your hip measure. In this instance it is 38 in. 
We are cutting one-half the pattern, therefore 19 in. is 
the amount on which to reckon. All skirts are based on 
the hip measure. The waist is 24 in. ; one-half of this is 
1 2 in. And we are making the skirt 72 in. around bottom, 
then 36 in. is one-half the width. The width of hip and 

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Madam Edith Marie Carens 



bottom depends on the prevailing fashion and should be 
cut accordingly. Sometimes fashion demands that this 
same skirt be 4 yards instead of two around the bottom, 
and again it will demand that the front and back gores 
be very narrow. But if you thoroughly understand the 
principle of this skirt you can cut any other style or gore. 

Skirt No. 2. The straight plaited skirt. See Figure 
48. Tear off straight strips of material the length of the 
finished skirt plus the hem. Baste and stitch all but one 
near back — do not have seam in middle front. Baste 
and stitch in hem. Mark center front of cloth with col- 
ored thread. On each side of this and 2 in. from center 
baste 2 in. tuck the full length. Repeat this operation 
until entire skirt is basted into tucks. Have tucks with 
a 1 in. space between them. Lay tucks toward the back. 
Pin skirt into position on the person, baste and stitch to 
a depth just below the hips. Press thoroughly both before 
and after stitching; put on the band after the placket is fin- 
ished. 

How to design, make and trim two different styles 
of Dresses. 

Dress No. 1 . A boating frock of white nun's veiling. 
The blouse is cut peasant style with large sailor collar 
of black satin; sleeve pipings of black satin, black satin 
buttons down front, on sleeves and two on back of belt. 
The skirt is four piece and joined to the waist by a plain 
straight belt, and the garment closes in the center with 
hooks and eyes. The black buttons are fastened to the 
straight band on this closing. A large black tie is worn 
at the V in front, a chemisette of white lace is worn with 
this frock. 

Dress No. 2. Is a little afternoon gown of pink 
marquisette over pink messaline. The blouse is cut low 
square neck, short sleeves and on the peasant lines. The 
lining is not cut on the princess lines but is made like a 
corset cover and petticoat joined. The top of the corset 
cover is edged with lace and has ribbon drawn through 
beading. The waist has lace yoke and sleeves, the body 
portion meeting this yoke effect with a deep frilling of 
the marquisette, the marquisette extending out into 
sleeves. Tiny bands of chiffon are stitched into design 
on the lace. Buttons further ornament the yoke and 

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Dressmaking Self Taught 

sleeves. A wide silk fringe outlines the high waist, fin- 
ishes the short sleeves and heads the wide hem in the 
skirt. The skirt of this model is narrow but fulled on to 
waist. If this style of garment is passe when this lesson 
is learned then select another style as near this as possible 
and make a garment that will be real fashionable. In 
fact, the author intends such to be done with all these 
lessons as styles change so rapidly it is almost impossible 
to select a garment that will do two seasons without alter- 
ations. 

ADVICE TO THE LEARNER. 

You are now familiar, if you have done your work 
well, with the principles involved in the making of most 
all of a woman's wardrobe; yet there is much still un- 
learned. You now have an excellent idea of the making 
of garments of all ordinary styles, but you must keep on 
and on with the work — there is always something new 
to be learned — each year, each season, yes, each day, 
brings forth new and interesting things to wear. Watch 
for them, study them when they come, and by every 
known method improve your store of knowledge. 

FIVE RULES TO REMEMBER. 

1 . Never baste up a garment without first pinning it 
well. 

2. Always take a dart in the front of a jacket up by 
the neck, so as to make the front hang straight. 

3. Good canvas must be put all through the fronts 
of jackets. 

4. Braid on the bottom of skirts must extend }& in. 
below bottom of skirt. 

5. If canvas is to be used in the bottom of skirts, cut 
it on a true bias if narrow, if wide shape it to the bottom 
of skirt. 

QUESTIONS. 

1. Design two waists, and tell the style of persons 
they will best suit. 

2. Design two skirts and tell the style of person they 
will best suit. 

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Madam Edith Marie Carens 



3. What do you know about a straight plaited skirt? 

4. Give in detail the cutting of a four gore skirt. 

5. Take three different sets of measures and propor- 
tion the measures for a two piece, four piece and seven 
gore skirt. 

6. What is the difference between a peasant style 
waist and the ordinary waist? 

7. How do you get the proportions for the cutting 
of skirts? 

8. Give proportions for cutting a fifteen gore skirt. 

9. What determines the width of front and back 



gores? 



1 0. What determines the width of bottoms of skirts? 



119 



Dressmaking Self Taught 



LESSON xx. 



Better money is to be made by sewing than almost 
any other profession open to women, if conducted in a 
thoroughly professional manner. It is not necessary that 
the dressmaker always remain a seamstress. Exercise 
all the talent within you; study the details and the out- 
lines of every garment that comes before you. Plan new 
styles, new designs. Picture in your mind's eye par- 
ticular cuts and lines that will fit certain figures and styles 
of women. Study color combinations and what shades 
are best suited to certain complexions, eyes and hair. 
It isn't the mere sewing woman who makes the big money 
— it's the woman who goes on each year improving her 
art and adding more and more to her store of knowledge. 
There is always something new to be discovered in the 
world of gown-making, and she who accomplishes the 
wonderful creations and the novel things is she who de- 
mands the attention of the fashionable women and can 
command the highest prices, for women will pay for style, 
no matter the cost. 

Learn to be a maker of gowns that are really worth 
while. Make the best of what this little book has taught 
you — improve upon all the suggestions given herein. 
Save what you can that you can afford to work your way 
later to a higher course of the work. If at all possible 
seek employment if for only a short period in a strictly 
high-class modiste parlor in a large city. Here keep your 
eyes and ears open to everything that is new; compare the 
mode in which they do things there to the manner in 
which you have been doing; get all the actual practice 
possible on their elaborate gowns and wraps; note par- 
ticularly the manner in which they conduct their business; 
see if you could improve upon it when you are ready to go 
into actual business. 

To make the most money by sewing you must do the 
best of work. Put out the finished article so as it will be 
perfect, thus free from the critical eyes of woman. The 
inside of your garments must be as neat as the outside. 

120 



Madam Edith Marie Carens 

No woman is so careless about herself as to not appreciate 
a gown that is well finished inside. If you do not actually 
do this work yourself employ no help that neglects these 
little details. Sew all shields, bones, hooks, buttons, 
trimmings, bindings, etc., with care, so that the person 
after wearing the garment once or twice is not made to 
realize that she has been deceived as to the class of work 
you are sending forth. 

In opening a dressmaking establishment, select de- 
sirable roomy quarters, either in a first class residence 
district or in the business section of your town or city; 
if you are a stranger to the customers you hope to have, 
then it is better to make your beginning where you are 
surrounded by close neighbors, as ladies who hire sewing 
always prefer their garments made near home, thus saving 
those long tiring trips for fittings, where they are obliged 
to dress for the street. 

A neat glass sign suspended from a chain in your 
window will soon tell the neighborhood that a new dress- 
maker is in their midst. Have cards with your business, 
name and address neatly printed thereon and arrange 
with some trusty youth to have them delivered at the 
door of each house within several blocks of your new 
establishment; or secure the names and addresses of your 
prospective customers and mail your business cards to 
their homes; or insert a clever ad. in the columns of your 
daily or weekly paper announcing your business. 

You can begin with one assistant, and add more as 
the business grows. 

Conduct everything on a thoroughly business basis. 
Do your work neatly, be obliging, and in every manner 
endeavor to make new customers. 

Dress neatly, have your own clothes well cut, and 
made up with a jaunty air and an original style. People 
will soon inquire who the lady is they see wearing such 
a nobby frock — and you will be surprised how soon 
people will hunt you out. 

Have one set price for your work, to all customers, 
and grade your prices according to the labor put upon it. 
Make your terms moderate at first — you can ask more 
compensation when your customers are made to realize 
what you can do. 

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Dressmaking Self Taught 

A dressmaking establishment should have ample 
light and plenty of ventilation. A large cutting table, 
4 x 6 ft. should occupy the center of the work-room. If a 
number of girls are employed, then each draper with her 
assistant should be supplied with a sewing table fitted up 
with at least two large drawers in which to keep tools and 
work when not in use. Each draper should also be supplied 
with a form on which to drape her garments while 
in the process of construction. Have the work-room 
spotlessly clean — it is an inviting work-room that has 
its walls done in white enamel or paint and kept free from 
soil. The floors should be covered with white canvas that 
can be lifted each night and the refuse shaken off. This 
canvas should be laundered once every week. 

The machines should be kept in perfect repair, and 
free from dust and oil. One machine to each draper and 
assistant is none too many. If you have access to motor 
power then better run your machines by electricity. En- 
force thorough cleanliness in workroom and there will be 
fewer damages to pay on soiled garments. 

Two good ironing boards with plenty of heavy irons 
and a two-burner gas stove is most essential to the work- 
room's equipment. 

Aim to have a separate room for fittings. If this is 
not possible, then curtain or screen off one corner so as 
the customer is not obliged to be stared upon by a dozen 
questioning girls while being fitted. Then it is better 
to have the customer away from the work-room as the 
girls soon know too much of your business. This fitting 
room should be supplied with plenty of light, a three-panel 
revolving mirror, an adjustable stand on which to have 
your customer stand while having skirts hung. The floor 
should be neatly covered with canvas. 

A small reception room is quite essential to a first- 
class place, as ladies are often required to wait their turns 
for fittings. This room should be equipped with a small 
table with a few good magazines thereon, a neat rug on 
the floor, jaunty curtains to the windows, and roomy, 
comfortable chairs. 

Do not overwork — the dressmaker is so apt to 
attempt more than she is able to care for. Do not promise 
your customers to do more than you can finish within a 

122 



Madam Edith Marie Carens 

given time and therefore become clogged with work. 
Eight or nine hours is long enough for any woman to sit 
in a cramped position or to worry over some unruly gar- 
ment; therefore when your quitting hour comes, lock the 
workroom door and walk out, not to enter again until 
working hours in the morning. 

There is good money to be made from sewing, under 
most any circumstances. Even in a small town and with 
only one assistant the lady in charge should clear at least 
twenty dollars a week for her labor. 

Or if the dressmaker wishes to do residence work, 
thus avoiding the responsibility of an establishment, she 
can readily find employment in homes. Her mode of 
obtaining customers is followed along the same lines as 
in establishing a business. When once established she 
will find no trouble to keep busy and the wage paid will 
range from $1 .00 to $5.00 per day, all depending upon the 
ability of the person in question and the size of town in 
which she works. Then too the resident seamstress 
always obtains free of charge her lunch and sometimes 
her breakfast and dinner, which is an item to be con- 
sidered. 

Dressmaking Specialty Work. If you do not care to 
do general sewing then why not specialize on some par- 
ticular line? — for instance, take up waist making, do 
nothing but make waists. This is the day of the specialist 
and she who does one thing is more successful than had 
she learned a half dozen vocations and does not really 
know one of them. 

Then there's a line of tailor skirt making; learn to 
make tailored skirts and make them well — give them 
lines and a finish that will demand the attention of any 
well dressed woman. 

Children's sewing is another line of specialty work. 
Learn to make the kiddies dainty little frocks that will 
make your little customers the envy of the entire neigh- 
borhood. You will find this work extremely lucrative 
and interesting. 

Tailoring work is a moneyed branch of sewing and 
better money can be made from this than any other branch 
of sewing. It is quite heavy work, especially coat making, 
and is not really a woman's work as it requires a man's 

123 



Dressmaking Self Taught 

strength to give the finished garment the proper pressing, 
and pressing is the one great feature that counts. Yet 
there are many ladies who prefer this class of work as it 
is more simple and when a certain few details are followed 
out to the very letter you will encounter no serious trouble 
in putting out tailored garments for which you can com- 
mand the very best price that is paid for any kind of 
sewing. The work requires extreme accuracy, ideas of 
correct proportion, neatness and lines that will exactly 
suit the customer for whom the tailored garment is in- 
tended. No slovenly work can be tolerated in tailoring, 
as there is no trimming to cover defects, and all work 
should be finished as you go along with the garment. 

Teaching dressmaking is another feature of the sew- 
ing world. It has been found to be a paying line of this 
work as well as light work.. If you are an old established 
modiste and wish to drop the sewing to open a school for 
pupils, all you will need to do is to inform your pleased 
customers. I f you pleased them when you made their gowns 
they will be sure to recommend you to their friends, when 
you have decided to teach the mysteries of making dresses 
to others. But if you are new to the city or town you will 
be obliged to go about the work to secure customers in 
the same manner as recommended in establishing a sew- 
ing business. Have two rooms at least and be sure they 
are light and airy. Fit up with small tables for each 
pupil. One sewing machine to about six pupils will be 
sufficient. 

You can select a good system of cutting to teach 
your pupils, but this is not necessary, as the stock patterns 
are always good when properly handled, and still gives 
them the training of cutting a garment to measure. This 
also gives the pupils an idea of the manner in which a 
garment goes together. When the pupil has thoroughly 
mastered the idea of cutting and can cut any garment 
from measure, then she is ready for the sewing room. 
Have her bring some plain material with which to make 
a plain gored skirt or simple shirt waist. All pupils 
should furnish their own material on which to practice. 
Be sure that each pupil can fit and finish one of each kind 
of a woman's wardrobe before she is allowed to graduate. 
She must do this work neatly and accurately. 

124 



Madam Edith Marie Carens 

About a three months course is the average time 
allotted the sewing pupils, and in this time any pupil 
should be able to handle in a neat, concise manner any 
garment. A fee of not less than $25.00 should be charged 
each pupil, depending upon the town, and class of people 
with whom you expect to deal. You know conditions 
always vary the prices for everything in certain localities. 
It is quite advisable to allow the pupils to pay on the 
installment basis, if they are taking the regular course; 
it is easier for the pupils and you would get scholars by 
doing this where you would not be able to find one to pay the 
full cash price down on entering the school. A good idea 
is to require a cash payment of $5.00 and a payment of 
$2.50 each week until the full amount is paid. So you see 
by working up a class of about twenty pupils, each paying 
$25.00, would net you a nice income of about $500.00 
in three months, or $150.00 a month, which is considered 
excellent wages for a woman. Better still to make a 
charge of fifty cents a lesson for each three hour lesson. 
By this method the pupil has the privilege of coming to 
the school when she likes, and if it is not possible for her 
to be present every day she is out nothing the days she is 
absent. 

The operating of a school can be carried out, as 
above directed, with the best results, as the author of this 
work has personally conducted dressmaking schools with 
just such success 

This work should appeal to the woman who has 
grown weary and tired in catering to a thousand women's 
whims, as the hours of school are short — 9 A. M. to 12 
noon and 1 P. M. to 4 P. M., and no school on Saturday. 
There is ample time in which to cut patterns to measure 
for customers on the side, for which a good price is de- 
manded. By combining this work the best of success is 
assured. But the author advises above all else do not 
attempt to conduct a regular dressmaking shop and ex- 
pect the pupils to give their time to the work. It never 
gives satisfaction and when customers once learn that 
pupils or inexperienced help are handling their materials 
the dressmaking business will be a failure. 

In conducting a dressmaking establishment, greater 
profits are realized if findings and various supplies are 
kept. Keep a bounteous supply of samples from the best 

125 



Dressmaking Self Taught 

houses and insist on your customers buying through you; 
you can give then the goods for what they can obtain 
them in the stores and you still derive your discount, 
which is usually liberal to dressmakers. Many modistes 
claim a far greater revenue from furnishing supplies to 
customers than from the actual work done. 

If a good business is conducted on a businesslike basis 
and the little items of expense cared for, the dressmaking 
business on a large scale is financially attractive. Suppose 
you keep twelve girls, which is an average establishment, 
and aim to have each girl earn for you at least $5.00 a week; if 
a girl is not worth that much to you then better not bother 
with them. In hiring girls, always get good ones — it 
is time and money wasted on inferior help. Pay girls 
such salaries as it will make an inducement for them to 
do their best work for you. Do not have a bunch of 
apprentices hanging around — one or two is plenty where 
a dozen girls are kept. 

Figure for yourself what a dozen girls, each earning 
you five dollars a week, will clear you in one month's time, 
$240.00 and this besides your discounts will mean no 
trifling salary for the ambitious woman. 

A word to those who wish to learn for economy's 
sake. It is not the material that makes clothes so ex- 
pensive; it is the high salary and other expenses of the 
dressmaker that makes the clothes item a serious propo- 
sition. Then too you avoid those long waits to get your 
garments from the shop. You can always have many 
more clothes if you can make them yourself. 

So now the pupil can see why the writer has impressed 
it so strongly upon her mind all through this course to 
make a real success, of her chosen work. It means in- 
dependence and a permanent income for life. It is an 
education that when once mastered no one can take it 
from you and you can derive an income from it wherever 
you go, whether married or single, young or old. The 
remuneration from your labors in the sewing world ex- 
ceeds any other providing you go about it rightly and give 
a good lot of common sense and hard work to the busi- 
ness. 



L26 



Madam Edith Marie Carens 

TO THE LEARNER. 

As this is distinctively a text book on dressmaking, 
the author has eliminated big words and difficult sentences 
for the pupil to ponder over. Plain English has been used 
to express her thoughts and she trusts that no reader of 
this work will experience any difficulty in grasping every 
idea involved in this book. 

The principles if thoroughly understood and put 
into sufficient practice will enable the pupil to make any 
ordinary garment of a woman's wardrobe. 

This book, "Dressmaking Self-Taught," is practi- 
cally what the term signifies. It tells the pupil just what 
to do and how to do it. If every textbook were its own 
instructor there would be no need of colleges or schools. 
The author has aimed to make this work a school in itself 
— taking the place of the oral instruction in a class or 
actually coming in contact with a sewing establishment. 

Be sure to take one or more dressmaking magazines. 
There are many, and every one contains something new 
and interesting. Study each new fashion printed therein. 
You should not think of being without the best dress- 
making magazines no more than a lawyer, preacher or 
physician would be without a technical magazine of his 
profession. Get these magazines regularly and keep 
posted on all that's new and up-to-date. 

Do not get discouraged. Do not get the impression 
that you can thoroughly master a profession so important 
as dressmaking in a few days — there is always something 
new. It requires practice, patience and perseverance — 
so does every art. 

Whatever department of sewing you intend to enter 
teacher, resident seamstress, children's dressmaker, or 
conducting an establishment, stand at the head of your 
profession and you will never lack employment. 

QUESTIONS. 

1 . Describe fully how you would fit up a sewing room. 

2. Why do you consider it valuable to learn dress- 
making as a profession? 

3. Who should learn to sew? Why? 

127 



Dressmaking Self Taugh 



« 



4. Why do you consider the conducting of a dress- 
making school an important phase of the dressmaking 
business? 

5. Describe fully the method suggested in this lesson 
of establishing a dressmaking business or school. 

6. Why should every dressmaker be supplied with 
high class fashion books? 

7. What steps are essential in order to realize success 
in the art of dressmaking? 

8. How can tailoring be made a profitable branch of 
sewing? 

9. Why keep dressmaker's findings? 

10. Why would you favor a position as resident 
seamstress? 



128 



SEP 11 19" 



One copy del. to Cat. Div, 
it I9M 



